David Bomberg

David Bomberg’s niece, Cecily Bomberg in conversation with Nicola Baird, PhD candidate, by Theresa Kneppers

David Bomberg’s niece, Cecily Bomberg in conversation with Nicola Baird, PhD candidate, LSBU:

NB: I wondered if you could explain how you relate to David Bomberg?

CB: My father, John was the baby of the Bomberg family, my mother, Olive was 12 years his junior, an Irish Catholic girl. David was my uncle and he was very keen on my mother because she turned my father around and put him on the straight and narrow- he adored her. David had been 22 when his mother died, he was already launched and she’d done everything for him but my father was 7 so you can imagine and then the others were all older and grown up so you can imagine what he went through….

NB: What are your memories of David Bomberg?

CB: What are my memories? His personality and little things about him are really what I know, mostly of course because I was only 15 when I last saw him, that’s how old I was and so mostly of course it is childhood memories. My first memory of him was in a camp in Wales at the end of the war, we were sent there, I think, because of some very late bombing. My mother had us in a hotel and every day we’d go into the fields to visit my uncle and aunty Lilian and Diana who were staying in a tent there, I remember I hated going there because he might have been a bit moody, I don’t know. She loved animals, but he hated them, he thought they should all be of purpose, I had a pet dog, my first dog, Nuala and what he did was he took her into the sea with him to bathe, cleanliness was a big thing with him, he used to even wash his suits in the sea, he took her into the sea and she was the soap holder, he put carbolic soap in her mouth! I remember him in the camp there, I’ve always had a word difficulty, I was a little dyslexic, and he obviously was in a mood but he liked joking, so one day he said to me, I was about 5, go into the farm and get the letters, and of course I brought him back a head of lettuce, so every time I would go there to visit he said where’s Cecily, Cecily I need my letters, and I would come back with the head of lettuce and they would all laugh at me. The next really strong memory I have of him is that whenever he came to visit us and my parents would ask, Cecily, do you want to ask Uncle David something? And then I had something that I had wanted to ask someone, you know anyone, and they would say ask Uncle David like he was the great sayer, is that how you say it? It’s like he was the oracle or something, now that is my real strong memory of him, and I would have been about 8 or 9 maybe. To me he spoke like a foreigner, he spoke slowly and methodically and every word was weighed, he would be thinking and carefully weighing but by the time he had finished I couldn’t remember what I’d asked! He liked me as a child because I was quiet, I wasn’t a running around child and he thought, that I should be put to music, there was something sad about me and that I needed solace and that the violin would be a good thing for me. Somebody told me that he actually purchased the violin, but I don’t think he ever had that much money. I wish I had known him as an adult, I wish I had been old enough to respond as a young woman as my mother had to him, to really learn from him and to see what a fine person he was, but I’m afraid I was just a little child and I thought of him as a vagabond of sorts coming and going, sometimes he wore a dressing gown at least I can remember him in a dressing gown and bandana, I think I saw him out once in a dressing gown.

NB: Which are your favourite works by David Bomberg?

CB: I think some of the portraits are marvellous; yes I like them a lot. For some reason I love the Cyprus paintings, they do something to me, of course the Spanish paintings, how could I not? And I do love some of the Palestinian paintings, the Church of the Armenians, the beautiful blue church in Jerusalem- some beautiful works. I love the Petra and I think the Cornish, that lovely painting of Cornwall and Devon, I see them all as I’m saying them now there’s so many, I think I prefer them all to the ones my family had. I wish he had done more portraits, the one that you and I met in front of, I really thought a lot of that portrait, and then there’s this other one, of a man who’s a great friend of his, I think that’s in the Ben Uri Gallery collection [John Rodker] , Jimmy Rodker, what David used to call, ‘my blood brother’, this is all my mother telling me, they were great friends and I love that picture….but I do wish he had done more portraits, I love Kitty’s portrait. I love the Ghetto Theatre and things like that, I’ve been very impressed with the Ben Uri, very impressed with what I’ve seen there, some beautiful paintings, and one of them which strikes me as quite strange is the racing picture, the race, that was an extraordinary picture, that was done in about 1912 I think, and just to see the composition, I mean, when you keep looking at it, it does something to you, I very much go in for the Ghetto and all of his pictures.

A Casa with a View: Notes on a Bomberg Inspired ‘Pilgrimage’ to Ronda, August 2017 by Theresa Kneppers

Introduction: Nicola Baird is PhD candidate in the School of Arts and Creative Industries at London South Bank University and a member of the Centre for the Study of the Networked Image (CSNI). Hers is a collaborative project between London South Bank University’s Borough Road Gallery and the Ben Uri Gallery: Art, Identity, Migration.

A Casa with a View: Notes on a Bomberg Inspired ‘Pilgrimage’ to Ronda, August 2017-

 I painted this picture from a mountain ledge three miles from Ronda across the valley, which point is the most perfect for a view of the city on its great rock. Leaving my house above, I would sometimes wind my way down the old Moorish path of the edge of the ravine and cross the cultivated valley, climbing up again through the olive groves on the slopes of the opposite ledge, on the afternoons of brilliant Andalucian spring days. Then I would forget everything but the ancient city on its glowing rock until the chill of the mountain shadow touched me- the sun had gone- Ronda was in afterglow and I was packing up to go home. This time, too dangerous to climb down the rocky sharp in the dark, I would prefer to share the roadway home with the peasants and their goats; all of us making for the warmth of the brazier fires of Ronda.

- David Bomberg

I arrived in Ronda, in the Spanish province of Malaga, on the evening of what had been a brilliant Andalusian summer day. Perched on an inland plateau riven by the 100 metre fissure of the El Tajo gorge, Ronda is Malaga province’s most spectacular city. Divided in two by the Guadalevin River it owes its name (‘surrounded’ by mountains), to the encircling Serrania de Ronda. Ronda was a favourite with the Romantics of the late 19th century and has attracted an array of international artists and writers including David Wilkie, Alexandre Dumas, Rainer Maria Rilke, Ernest Hemingway, Orson Welles and David Bomberg. Bomberg came to Ronda via Cuenca with his wife Lilian in May 1934 and stayed until civic unrest forced them to leave Spain in November of the following year. The site of the Bombergs’ first home in Ronda is now marked with a blue plaque which was presented in 2004 to coincide with an exhibition of the artist’s work at the Museo Joaquin Peinado. Bomberg was not to return to Ronda until 1954 when he tried, and failed, to set up a school of painting at Villa Paz, the house he rented next to the medieval Palacio de Mondragon. Advertisements were printed and letters sent out to many of his former students but the owner of the house evicted them before even the first class had taken place. Though Bomberg gave up on the idea of the school he found some consolation in being consequently offered a ruinous property to rent on a pine-lined ridge commanding views in one direction of the massive Puente Nuevo and in the other of the picturesque Serrania de Ronda. La Casa de la Virgen de la Cabeza, is, it transpires, still owned by the same prominent Ronda family today. The only other house on the ridge was taken by former pupils Miles and Susanna Richmond. The plaque, the Villa Paz (as well as the Church of La Paz) and La Casa de la Virgen de la Cabeza were therefore key places to visit along with sites from which it is known Bomberg painted/drew, such as the Plaza de toros de Ronda, Spain’s oldest bullring, the Church of Santa Maria la Mayor in the Plaza Duqesa de Parcent, the Arab baths, which can be found below the city and date back to the 13th and 14th centuries and the roof of a former hospital in the new town. As the old hospital was not far from where I was staying, this was my first port of call. Obviously I was not able to get up onto the roof of the building but I was able to appreciate its height and the view from the end of the road across the old city. Next I visited the Plaza de toros, built in 1784 in the neoclassical style by the architect Jose Martin de Aldehuela, who also designed the mighty Puente Nuevo, linking the old and the new parts of the city. It is thought that Bomberg’s last work, completed one moonlit night in the company of Miles Richmond, was of the bullring’s main gate near eclipsed by the casting of a sinister black shadow. Then it was on to the Church of Santa Maria la Mayor originally built in the 14th century as a mosque and transformed into a cathedral in the years following the Christian conquest of 1485. Sadly it was demolished in an earthquake in 1580 and the church which stands in its place today is an incomplete replacement, though still very impressive inside and out. The plaque and the Villa Paz, also in the old town and being fairly close together, were next on my list. I was unable to gain entry to the Villa Paz, now a bar, when I visited but walked right up to the main door and photographed through a side gate and from the restaurant next door I was able to photograph the Villa’s front (gorge) facing façade and small garden/outside space. It was amazing to be there and I was able to really get a sense of the artist’s presence. Emerging back onto the main road in the old town I carried on down the hill towards the Arab baths which were beautifully in-tact and well maintained. From there I was able to appreciate an alternative view of Ronda one which Bomberg would have witnessed. The following day I met up with Miles and Susanna Richmond’s daughter Georgina who grew up in Ronda (and was three when Bomberg died) and for the last fourteen years has been living permanently in the beautifully bohemian feeling house her parents bought in 1960s just outside the city. We had lunch together with her husband David, who is also a painter, before driving round to La Casa de la Virgen de la Cabeza, Bomberg’s last home in Ronda and where he spent the last three years of his life. Experiencing the almost comically obstinate isolation of this slightly ramshackle, dwarfish looking house hunched beneath a large and imposing tree was a peculiarly evocative moment in which I felt I sensed something of the artist’s presence in the air. Although we were unable to enter the house we were able to view it from the top of a short driveway and to appreciate the geological drama of the landscape as well as the spectacular views of the Puente Nuevo, towering 120 metres above the canyon floor, and the El Tajo gorge which its unique position affords. Georgina told me that Bomberg and Miles would have painted at various points along the entirety of the ridge, something which would now be impossible as the owner of valley land abutting has illegally erected a metal fence preventing right of way. The fence, which jars with the timelessness of the landscape and tampers with the ridge’s at once lost and liberated quality is, according to Georgina, a sign, amongst others, that things in Ronda are changing, planning permission has been granted for a large luxury hotel in the valley and a developer has bought the 1920s folly on the rocky road between the ridge and Ronda proper from which Bomberg and Miles would also have painted. This just left the views of the Puente Nuevo which could only be authentically experienced by walking down into the gorge from steps in the corner of the Plaza Auxiladora. Later that evening, as the temperature cooled slightly, we began walking, stopping at a viewpoint, the remains of an old house, to take pictures, before taking a different path along and underneath the bridge in order to appreciate its awe-inspiring height and mass. The next day was spent walking around both the old and the new parts of the city, revisiting previous sites and admiring the incredible views of the gorge from the Puente Nuevo as well as climbing down into it from the other side via the Moorish La Minathe so-called Water Mine (accessed from the gardens of the Casa del Ray Moro). The following morning I took a bus from Ronda to Malaga where I spent my last day and night. Serendipitously there was a temporary ‘School of London’ exhibition on at the Picasso Museum which included four paintings by Bomberg, all from the Tate’s collection, but which I had never seen in the flesh as so few example of his work are ever on display at any one time. Perhaps predictably I came away both from the Picasso Museum and from Spain feeling curiously and in a perhaps predictably romantic way somehow better able to understand and to appreciate the nature of Bomberg’s experiments/achievements in Ronda, the epic transition in each case from quest to conquest, or otherwise, as well as the courage, determination and mental fortification involved in continuing to paint, to draw, to prove with each taking up of the brush his own sense of self-worth. And now when I look at the work he did in Ronda, having experienced the majesty and the drama of those vistas for myself, I am overwhelmed by a misty-eyed mirage of Bomberg the conquerer, Bomberg the great and am unable to prevent ringing in my ears the artist’s oft-quoted incantation: ‘seek the spirit in the mass’.

 

This trip was made possible by Queenswood School’s Ruth Moon Award for which I am very grateful.

Johanna Bolton: An archive of made decisions by Theresa Kneppers

Contemporary artist Johanna Bolton is currently doing a residency at the Borough Road Gallery art store. You can follow her as she researches and develops a project for the gallery this fall. 

Bomberg wrote that ‘the virility of drawing lies in the immediate necessity to make decisions- with it departs the fears and the funk...’ 

I think this quality is very much evident in the decisive fast impasto lines in the art of the Borough Group.

Bomberg also wrote “I approach drawing solely for structure” - I will try the same but from the other side, as a sculptor looking for the instruction for structure in the drawings. 

This week I am buying armature wire and working at drawing out those structural lines into 3-dimensions again. 

Johanna Bolton Artist Residency at Borough Road

Johanna Bolton: Traces of Trauma (Art in the shadow of two World Wars) by Theresa Kneppers

Contemporary artist Johanna Bolton is currently doing a residency at the Borough Road Gallery archive and art store. This is her second blog exploring the collection and working with the LSBU archives.

Last Friday, archivist Ruth MacLeod showed me the records from the Arts Department of Borough Polytechnic (as London South Bank University was then known) at the time David Bomberg was teaching (1946-53). There was little mentioned about him specifically, but some records that help get a feeling for life in the art department at the time.

As a Polytechnic the department’s focus was on commercial art, creating a freedom from the traditions followed in the Fine Arts departments elsewhere. Bomberg taught a few daytime life drawing classes, but mainly evening classes in life drawing, painting and composition. Records show a large uptake of art evening classes, and one year there was a course tantalizingly named ‘Drawing and painting from memory and knowledge’. There is a line in the student magazine about the people who come in the evening and ‘splash more paint on the walls than on the canvases’, and an entertaining article about the humiliation of being corrected by an unnamed life drawing teacher (there were two life drawing teachers at the time, one of them Bomberg): “...try to remember he is an Aesthete and therefore cannot be expected to know any better.”

But what the visit to the archive really brought home more than anything was how recent this was after WW2, the second war that Bomberg had lived through. His suffering in the trenches of the Great War had affected his practice dramatically, from radical abstractions in the style of Futurism and Vorticism to a more figurative, expressionistic style. 

Of course WW2 also had a major impact on the art works of all the artists in the Borough Road group. 

The archive did have a large folder with records on Bomberg’s contemporary teacher collegue Mr Thomas Liverton. In a hand written note from 20th October 1945 he writes that he has been discharged from the RAF, and was much looking forward to returning to Borough Polytechnic in November, but felt ‘rather in need of a rest.’ It is strange to think how quietly that generation went through their traumatic experiences.

Traces of Trauma? Works by David Bomberg from before, between and after the two world wars, in the Borough Road collection archive. (There is only one work from before the Great War in the collection).

David Bomberg, 1913-14. Before WW1

David Bomberg, 1913-14. Before WW1

David Bomberg, 1925. Interwar period

David Bomberg, 1925. Interwar period

David Bomberg, 1956. After WW2

David Bomberg, 1956. After WW2