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拍品专文
In the foreward to the catalogue for his one-man exhibition held in July 1914 Bomberg wrote his own manifesto: 'I APPEAL to a Sense of Form. In some of the work I show in the first room, I completely abandon Naturalism and Tradition. I am searching for an Intenser expression. In other work in this room, where I have used Naturalistic Form, I have stripped it of all relevant matter. I look upon Nature, while I live in a steel city. Where decoration happens, it is accidental. My object is the construction of Pure Form. I reject everything that is not Pure Form. I hate the colours of the East, the Modern Mediaevalist, and the Fat Man of the Renaissance' (see exhibition catalogue, David Bomberg: Paintings and Drawings, London, Arts Council, Tate Gallery, 1967, p. 21).
In the present work, executed in 1912-13, Bomberg has reduced the subject matter of the racehorses and riders to an expression of their essential forms, using a limited vocabulary. This simplification and reduction of forms to flat planes can also be seen in Bomberg's later student work, The Vision of Ezekiel, 1912 (Tate Britain).
In the present work, executed in 1912-13, Bomberg has reduced the subject matter of the racehorses and riders to an expression of their essential forms, using a limited vocabulary. This simplification and reduction of forms to flat planes can also be seen in Bomberg's later student work, The Vision of Ezekiel, 1912 (Tate Britain).