David Garshen Bomberg (1890 – 1957) was a British painter, and one of the Whitechapel Boys.
Bomberg was one of the most audacious of the exceptional generation of artists who studied at the Slade School of Art under Henry Tonks, and which included Mark Gertler, Stanley Spencer, C.R.W. Nevinson, and Dora Carrington. Bomberg painted a series of complex geometric compositions combining the influences of cubism and futurism in the years immediately preceding World War I; typically using a limited number of striking colours, turning humans into simple, angular shapes, and sometimes overlaying the whole painting a strong grid-work colouring scheme. He was expelled from the Slade School of Art in 1913, with agreement between senior teachers Tonks, Frederick Brown and Philip Wilson Steer, because of the audacity of his breach from the conventional approach of that time.
Whether because his faith in the machine age had been shattered by his experiences as a private soldier in the trenches or because of the pervasive retrogressive attitude towards modernism in Britain, Bomberg moved to a more figurative style in the 1920s and his work became increasingly dominated by portraits and landscapes drawn from nature. Gradually developing a more expressionist technique, he travelled widely through the Middle East and Europe.
From 1945 to 1953, Bomberg worked as a teacher at Borough Polytechnic (now London South Bank University) in London, where his pupils included Frank Auerbach, Leon Kossoff, Philip Holmes, Cliff Holden, Edna Mann, Dorothy Mead, Gustav Metzger, Dennis Creffield, Cecil Bailey, and Miles Richmond. David Bomberg House, one of the student halls of residences at London South Bank University, is named in his honox0r. He was married to landscape painter Lilian Holt.
© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by David Garshen Bomberg or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

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| Self-Portrait, 1932 |
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| Raie, the Artist’s Sister, 1910 |
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| Vision of Ezekiel, 1912 |
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| Bathing Scene, 1913 |
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| Family Bereavement, 1913 |
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| Racehorses, 1913 |
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| Su-Jitsu, 1913 |
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| Artwork Caption Sketches for ‘The Dancer’, 1913–14 |
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| In the Hold, 1913-14 |
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| Study for The Mud Bath, 1914 |
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| The Dancer, 1914 |
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| The Mud Bath, 1914 |
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| Artwork Caption Barges, 1919 |
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| Sappers at Work: Canadian Tunnelling Company, R14, St Eloi, 1919 |
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| Sappers at Work: Canadian Tunnelling Company, R14, St Eloi, 1919 |
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| Sappers Under Hill 60, 1919 |
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| Study for Two Figures in a Composition, 1919–20 |
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| Ghetto Theatre, 1920 |
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| Imaginative Composition: The Tent, 1923 |
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| Lilian Painting David (Painting Lilian) 1929 |
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| Portrait of John Rodker, 1931 |
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| The City on the Rock, Evening, Ronda, Spain, 1935 |
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| The Artist's Wife and Baby, 1937 |
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| The Baby Diana, 1937 |
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| Bomb Store,1942 |
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| Bomb Store,1942 |
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| Tregor and Tregoff, Cornwall, 1947 |
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| Vigilante, 1955 |
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| Ronda, Spain, 1957 |
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