{"title":"Index","authors":"","doi":"10.2307/j.ctv13qfv09.14","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.14","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127300113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘The Best in the Worst of All Possible Worlds’:","authors":"","doi":"10.2307/j.ctv13qfv09.11","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.11","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125694766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"List of abbreviations","authors":"","doi":"10.2307/j.ctv13qfv09.5","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.5","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125362237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘I am planning a small review’:","authors":"","doi":"10.2307/j.ctv13qfv09.9","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.9","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117207269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Public Money is Private Money’:","authors":"","doi":"10.2307/j.ctv13qfv09.10","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.10","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130134770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Art and Criticism in the Machine Age:","authors":"","doi":"10.2307/j.ctv13qfv09.8","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.8","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125122464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"List of illustrations","authors":"","doi":"10.2307/j.ctv13qfv09.3","DOIUrl":"https://doi.org/10.2307/j.ctv13qfv09.3","url":null,"abstract":"","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130811511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Afterword","authors":"Nathan O’Donnell","doi":"10.3828/liverpool/9781789621662.003.0007","DOIUrl":"https://doi.org/10.3828/liverpool/9781789621662.003.0007","url":null,"abstract":"This brief afterword focuses on a late proposal by Lewis for a book that was never published, expanding on the critical Listener article, ‘Bread and Ballyhoo’, in which he mounted his critique of the Arts Council of Great Britain. This proposition demonstrates some of the key critical concerns for Lewis in relation to visual art in the last years of his life; his fears about the direction of art education; the perpetuation of class inequality within the arts; and the perceived failure of the establishment to recognise and nurture new talent. Some of these concerns ultimately fed into his 1954 book, The Demon of Progress in the Arts, in which he articulated his support for a new school of painting – including figures like Francis Bacon, Michael Ayrton, and Robert Colquhoun – within a framework of anti-abstraction and a critique of the newly-formed ICA. This afterword explores and contextualises these late manifestations of Lewis’s critical energies, surveying his late recognition as a writer and artist in the 1950s, before his reputational decline into obscurity after his death, an obscurity which prevailed until recent decades.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123562604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘The Best in the Worst of All Possible Worlds’: Lewis and the Institutions","authors":"Nathan O’Donnell","doi":"10.3828/liverpool/9781789621662.003.0006","DOIUrl":"https://doi.org/10.3828/liverpool/9781789621662.003.0006","url":null,"abstract":"This chapter examines Lewis’s evolving critical position in later life in light of his own professional exchanges with some of the institutions governing the art world. The chapter is structured around three case studies, documenting Lewis’s interactions with three key institutions: the Royal Academy, in particular the controversy surrounding their rejection of his Portrait of T.S. Eliotin 1938; the BBC, which became a key source of patronage for much of Lewis’s later work; and the Arts Council, which he saw as a repository of the values of Bloomsbury, enshrined in the form a new establishment. In particular, this chapter focuses on Lewis’s long critical essay on the Arts Council, published in The Listener in 1949. At this point some correlations between Lewis and Bloomsbury, for so long obscured by rivalry and self-promotion, can be clearly detected; for instance, both Lewis and Keynes were committed to a model of art founded upon autonomy and professional expertise. At the same time, certain unexpected divisions are also made evident, with Lewis emerging, at this late stage, as distinct from Keynes and the other representatives of the Arts Council, as the advocate of equality, opportunity, and transparency in the arts.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124221504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Professionals and Amateurs","authors":"Nathan O’Donnell","doi":"10.3828/liverpool/9781789621662.003.0002","DOIUrl":"https://doi.org/10.3828/liverpool/9781789621662.003.0002","url":null,"abstract":"This chapter takes, as its point of departure, the historical detail of the famous 1913 split between Lewis and the Omega Workshops, used here as a lens for considering the professionalisation of the arts in early twentieth-century England. Drawing upon the sociology of the professions in the early twentieth century, the chapter explores the terms ‘professional’ and ‘amateur’ underwent a major shift at this time, with the role of the professional – artist or otherwise – becoming reoriented around notions of expertise, specialisation, and public service. This ‘professional turn’ involved simultaneous adaptation and resistance to increasingly powerful market forces. Lewis’s work in response to Bloomsbury is examined in this light. Blast is explored, in this context, for its proto-professional discourse; while The Caliph’s Designis read as a significant professionalist manifeso, delineating a body of esoteric specialist knowledge as well as a professional mythology for the practising artist. Lewis aggressively defined a (public-spirited, transparent, dogmatic) Vorticism as against the (domestic, private, conciliatory and liberal) amateurism of the Omega Workshops, positioning himself as a ‘pioneer’ professional, of a type that have historically, in different ways, laid the groundwork for the reorganisation of their professional fields.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126023265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}