Wyndham Lewis

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Lewis, Wyndham

Lewis, Wyndham (Percy Wyndham Lewis) (wĭnˈdəm), 1886–1957, English author and painter, born on a ship on the Bay of Fundy. With Ezra Pound, he was cofounder and editor of Blast (1914–15), a magazine connected with vorticism. Lewis's paintings, however, were not limited to the cubism of the vorticists; he produced many conventional works that gained him critical recognition. His paintings are in several museums, including the Tate Gallery, London, and the Museum of Modern Art, New York City. As an author, he is noted for his iconoclastic, quasi-philosophical novels and essays. Among his most important nonfiction works are The Art of Being Ruled (1926), Time and Western Man (1927), and The Writer and the Absolute (1952). His finest novels are generally judged to be The Revenge for Love (1937) and Self Condemned (1954), but also of interest are The Childermass (1928; rev. and continued as The Human Age, 1955–56) and The Apes of God (1930). Blasting and Bombardiering (1937) and Rude Assignment (1950) are autobiographical.


See his letters, ed. by W. K. Rose (1964); P. Edwards, Wyndham Lewis: Painter and Writer (2000); studies by T. Materer (1976), F. Jameson (1979), J. Meyers (1980), and S. E. Campbell (1988).

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References in periodicals archive ?
"Wyndham Lewis, Blast, and Popular Culture." ELH 54:2 (Summer 1987): 403-19.
Much of this confidence is registered in his introduction to the reissue of Wyndham Lewis's BLAST 1 for Black Sparrow in 1981, the same year Conjunctions first hit the stands.
Brooks is "preparing a load of buckshot for Douglas Bush," and Tate brands Wyndham Lewis as "a malignant megalomaniac." And there, behind the campus walls, they show little interest in what was happening, politically and socially, in the world outside.
His underlying argument--to the extent that he sustains one throughout his book--revolves around his contention that authors' interest in objects played an important role in modernism, and he takes as his examples Woolf, Wyndham Lewis, Pound, and Stevens: "In a sense, then, what the object world represented for modernists above all was a realm beyond the reach of ideology but not secure against the material consequences of ideological conflicts" (9).
Klein depicts Wyndham Lewis as james Joyce's foil, eventually demonstrating how Joyce not only incorporated Lewis's criticisms of Ulysses into Finnegans Wake, but also transformed Lewis into a "fundamental aspect of [his] last work" (p.
If opposition is true friendship, as Blake claimed, then Joyce and Wyndham Lewis were the best of friends.
It is with a certain dismissive embarrassment that Fredric Jameson -- in his treatment of Wyndham Lewis, a writer he otherwise admires -- finally confronts the writings collected by Lewis under the title Hitler.(1) Characterizing this book as a "slapdash series of newspaper articles," Jameson nevertheless uses this text to construct his theory of protofascism.
Two years ago, David Wyndham Lewis, solicitor turn entrepreneur, had the visionary idea of using the National Stadium for this sort of event.
In 1914, Wyndham Lewis, Ezra Pound, and other experimental artists started England's first prototypical avant-garde movement, ovorticism,o and an associated magazine, Blast: Review of the Great English Vortex.
The show also looks at their connection with European artists, including stand-out art by Pablo Picasso, Edward Burra, Wyndham Lewis and Surrealists John Armstrong and Merlyn Evans.
The exhibition will feature work by British artists including Wyndham Lewis, Edward Burra and Julian Trevelyan but the angry Picasso portrait is expected to be the big draw to the latest of the Laing exhibitions for which an admission fee will be charged.
Alongside Edward McKnight Kauffer's 1937 poster are works by the likes of Roland Penrose and Wyndham Lewis.