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William Roberts (painter)
William Roberts (5 June 1895 – 20 January 1980) was a British painter of groups of figures and portraits, and was a war artist in both World War One and World War Two.
==Education and early career==
Son of an Irish carpenter and his wife, Roberts was born in Hackney, London. In 1909 he took up an apprenticeship with the advertising firm of Sir Joseph Causton Ltd, intending to become a poster designer, and he attended evening classes at Saint Martin's School of Art in London. He won a London County Council scholarship to the Slade School of Art in 1910. His contemporaries included a number of brilliant young students, among them Dora Carrington, Mark Gertler, Paul Nash, Christopher Nevinson, Stanley Spencer and David Bomberg.〔David Boyd Haycock, ''A Crisis of Brilliance: Five Young British Artists and the Great War'' (London: Old Street Publishing, 2009), p. 65; Andrew Gibbon Williams, ''William Roberts: An English Cubist'' (London: Lund Humphries, 2004), p. 8; William Roberts, ''Early Years'' (London, 1982; repr. as ('A Sketch of his Early Life' ) in ''Five Posthumous Essays and Other Writings'' (Valencia, 1990), pp. 69–82. All Roberts's writings except a couple of pieces for periodicals were privately published; they are available on the website (An English Cubist: William Roberts, 1895–1980 ).〕
Roberts was intrigued by Post-impressionism and Cubism, an interest fuelled by his friendships at the Slade (in particular with Bomberg) as well as by his travels in France and Italy after leaving the Slade in 1913.〔('Autobiographical Sketches' ) in ''Five Posthumous Essays and Other Writings'', pp. 145–6. Preface to ''Some Early Abstract and Cubist Work, 1913–1920'' (London, 1957); repr. in ''Five Posthumous Essays and Other Writings'', pp. 168–9.〕 Later in 1913 he joined Roger Fry's Omega Workshops for three mornings a week, and the ten shillings a time that Omega paid enabled him to create challenging Cubist-style paintings such as ''The Return of Ulysses'' (now owned by Castle Museum and Art Gallery, Nottingham).〔(Years'' ); repr. in ''Five Posthumous Essays and Other Writings'', p. 8. Ten shillings in 1913 was equivalent to about £50 in 2013, according to (the Bank of England's inflation calculator. )〕
After leaving Omega he was taken up by Wyndham Lewis, who was forming a British alternative to Futurism. Ezra Pound had suggested the name Vorticism, and Roberts's work was featured in both editions of the Vorticist literary magazine ''BLAST''. Roberts himself, however, later preferred the description 'Cubist' for his work of this period.〔In the catalogue to the 1956 Tate Gallery Exhibition ''Wyndham Lewis and Vorticism'', Lewis declared, 'Vorticism, in fact, was what I, personally, did and said at a certain period.' Roberts commented, 'With regard to this mystifying catch-word, I agree with Lewis, that it should only be used in reference to his own work; and that the term Cubist should be employed, to describe the abstract painting of his contemporaries of the 1914 period' (William Roberts, (''In Defence of English Cubists'' ) (London, 1974); repr. in ''Five Posthumous Essays and Other Writings'', pp. 216–17).〕
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