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and the executor of
Dismorr's will (in which all the beneficiaries were women), summed her up as "the Edwardian phenomenon of the new woman". Ody considered that she did not have a physical relationship with Lewis. Lechmere's relationship with Lewis ended bitterly, and she carried out a legal struggle to recover money owed her by him. Lechmere had provided all the funds to pay for the Rebel Art Centre, where the Vorticists first met in 1914—a fact which Lewis had to admit to
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253:, to the second issue in 1915. She shared the group's depiction of the dynamics of the machine and their desire to challenge the public's conservative views on art but little of her work from this period survives. The four works she contributed to the Vorticist exhibition in 1915 are now thought to be lost, as is the original of
103:(3 March 1885 – 29 August 1939) was an English painter and illustrator. Dismorr participated in almost all of the avant-garde groups active in London between 1912 and 1937 and was one of the few English painters of the 1930s to work in a completely abstract manner. She was one of only two women members of the
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to demonstrate she would do anything Lewis asked of her. Dismorr and
Wyndham Lewis fell out in 1925 when she refused to purchase some drawings from him when he was short of money but they appeared to have resumed a cordial friendship in 1928 when she did lend him some funds. Robin Ody, a close friend
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in the 1890s, where
Jessica Dismorr was educated at Kingsley College and where she became head girl. Her mother suffered from extended periods of ill health but her father's income meant the family were free of financial worries and Jessica was able to travel extensively in Europe.
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and in both London and
Folkestone. She had a nervous breakdown in 1920 and received medical advice not to paint. Lewis suspected that it was her modern style that was causing the doctors concern, and wrote to her that "the best possible distraction for you would be to paint".
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and the Rebel Art Centre, Dismorr had a difficult relationship with
Wyndham Lewis, and was, along with Helen Saunders, one of the "little lapdogs who wanted to be Lewis’s slaves and do everything for him". Lechmere claimed that on one occasion Dismorr stripped naked in
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in Sussex. Throughout her final years, Dismorr continued painting and exhibiting her work, which became completely abstract during the late 1930s. She exhibited with the
Association Abstraction-Creation. She contributed her work, "Related Forms" to
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wrote the introduction to the exhibition cataloue. The exhibition included a series of water colours of landscapes painted in France, Italy, Spain, Scotland and
England. A Fauve type composition,
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In 1924 Dismorr began a series of water colour paintings of music hall performers, a popular subject at the time. In 1925 her first solo exhibition was held at the Mayor
Gallery in London.
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Both her mother and sister
Blanche died in 1926 and Dismorr herself was ill during 1927. Dismorr recovered and between 1927 and 1934 exhibited some twenty-six figurative pieces with the
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held an exhibition of the works of
Dismorr and her contemporaries in early 2020. The exhibition was curated by the Gallery in partnership with Dr Alicia Foster.
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Catherine Heathcock's (unpublished) PhD thesis contains a complete catalogue of Dismorr's works. The letters between Dismorr and Lewis are now held at
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displayed several examples in New York in December 1916. Dismorr exhibited with the Vorticists again in New York in January 1917 at the Penguin Club.
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A joint exhibition of works by Dismorr and Giles was held in 2000 at the Fine Art Society in London, with a catalogue written by Quentin Stevenson.
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she did not submit any more for publication until the 1930s. Early in 1920 Dismorr had a handful of paintings shown, in group shows, at both the
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Dismorr produced several pointillist self-portraits alongside portraits of her mother and female friends. One of these was of the artist
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influenced work with the Allied Artists Association. The Fauvist influence is said to have resulted from her studies at the
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From 1920 until 1924 she appears to have had no settled home and travelled throughout Europe, spending time in Paris, the
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Dismorr died by suicide by hanging in London on 29 August 1939, five days before Britain declared war on Germany.
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in the early 1930s and again in 1937. Dismorr was one of seven British women artists included in the 1936
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in the Seven and Five Society, having joined both groups in 1926. Dismorr showed with the anti-fascist
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exhibition. Poems and illustrations by Dismorr appeared in several avant-garde publications including
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in October 1912 at the Stafford Gallery in London. From 1912 to 1914 Dismorr also exhibited at the
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in 1913 and by 1914 had become a member of the Rebel Art Centre. She maintained a studio in the
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magazine. During July 1912 she showed three landscapes, to favourable reviews, with the
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Dismorr served as a nurse in France and then as a bilingual field officer with the
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1044:"Poems, from the John Henry Bradley Storrs papers - Poems of Jessica Dismorr"
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Apart from Dismorr, the only other female member of the Vorticist group was
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A Biographical Dictionary of Women Artists in Europe and America since 1850
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hold one example each of Dismorr's work from this period and the collector
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exhibition in Amsterdam which aimed to counter the Nazi condemnation of
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Richard Cork. "Dismorr, Jessica." Grove Art Online. Oxford Art Online.
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in 1914, and also contributed illustrations and a written piece,
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Voyaging Out: British Women Artists from Suffrage to the Sixties
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The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915
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The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915
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Vivien Greene & Paul Edwards (2010). Mark Antcliff (ed.).
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who had not wanted "any of these damned women" in the group.
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Oxford Dictionary of National Biography Vol 56 (Usk-Wallich)
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in Paris, between 1910 and 1913, where she studied under
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Fifty Works by Fifty British Women Artists 1900-1950
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Vorticism and Abstract Art in the First Machine Age
656:"Jessica Dismorr: The radical pioneer of Vorticism"
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590:. Chicago: Fitzroy Dearborn Publishers. p.
540:HCG Matthew & Brian Harrison, ed. (2004).
215:in Paris. In 1912 and 1913, Dismorr exhibited
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991:. University of California Press. (2 vols.)
802:The Vorticists: manifesto for a modern world
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257:which was reproduced in an edition of
1064:"A little gallery for Jessie Dismorr"
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587:Dictionary of Women Artists, Volume 1
408:in the London Group, as well as with
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952:Glover, Michael (28 December 2019).
37:Jessica Dismorr, self-portrait, 1929
858:20th Century Painters and Sculptors
510:Jessica Dismorr and Catherine Giles
1413:20th-century English women artists
654:Alicia Foster (16 December 2019).
418:Artists' International Association
326:American Friends Service Committee
125:Artists' International Association
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181:and was in the circle around the
173:at Etaples in 1904, and at the
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451:Later exhibitions and research
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444:magazine in 1937 (no 8: 25).
422:Die Olympiade ouder Dictatwar
288:. William Roberts's painting
280:Abstract composition ca. 1915
1428:British women in World War I
860:. Antique Collectors' Club.
720:. Antique Collectors' Club.
1463:20th-century women painters
1453:People from Gravesend, Kent
1423:Artists who died by suicide
1237:Hieratic Head of Ezra Pound
804:. London: Tate Publishing.
544:. Oxford University Press.
512:. The Fine Art Society PLC.
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888:. Liss Llewllyn Fine Art.
780:Victoria and Albert Museum
508:Quentin Stevenson (2000).
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109:Allied Artists Association
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1050:. Smithsonian Institution
984:. Retrieved 11 March 2009
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1048:Archives of American Art
909:AXIS no 8, Winter 1937.
884:Sacha Llewellyn (2018).
750:. Harvester Wheatsheaf.
85:Slade School of Fine Art
1443:British modern painters
1352:Edward McKnight Kauffer
716:Marion Whybrow (1994).
695:. Thames & Hudson.
350:and the New Art Salon.
101:Jessica Stewart Dismorr
1433:English women painters
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744:Penny Dunford (1990).
691:Carolyn Trant (2019).
622:Alicia Foster (2004).
433:Catherine Dawson Giles
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987:Richard Cork (1976).
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187:John Duncan Fergusson
165:Dismorr attended the
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149:Dismorr was born at
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167:Slade School of Art
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1070:. 17 February 2014
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1072:. Retrieved
1067:
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1052:. Retrieved
1047:
1020: at the
988:
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957:
920:13 September
918:. Retrieved
915:monoskop.org
914:
904:
885:
857:
835:13 September
833:. Retrieved
830:Tate Gallery
829:
820:
801:
795:
783:. Retrieved
779:
773:
766:
746:
717:
711:
692:
663:. Retrieved
659:
623:
586:
541:
509:
461:
454:
446:
441:
430:
421:
399:
387:Dylan Thomas
383:London Group
380:
371:
365:
352:
344:A.Y. Winters
337:
319:
299:
289:
283:
258:
254:
250:
244:
231:Dismorr met
230:
209:S. J. Peploe
198:
164:
148:
138:
134:
128:
117:London Group
100:
99:
70:(1939-08-29)
53:3 March 1885
18:
1403:1939 deaths
1393:1885 births
1264:Works about
1232:(1914–1915)
1224:(1914–1915)
330:T. S. Eliot
322:World War I
316:World War I
261:. Both the
1458:Vorticists
1387:Categories
1253:Rock Drill
1173:Ezra Pound
1121:Vorticists
727:1851491708
470:References
362:Later life
334:Ezra Pound
271:John Quinn
255:The Engine
237:Kings Road
145:Early life
49:1885-03-03
1229:The Crowd
1114:Vorticism
963:2 January
774:Landscape
437:Alfriston
426:Modernism
251:Monologue
227:Vorticism
159:Hampstead
151:Gravesend
105:Vorticist
81:Education
59:, England
930:cite web
856:(1990).
785:24 April
265:and the
171:Max Bohm
115:and the
1438:Group X
1316:Group X
1030:at the
320:During
217:Fauvist
121:Group X
1256:(1913)
1248:(1914)
1240:(1914)
1213:Output
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665:28 May
660:Art UK
630:
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200:Rhythm
135:Rhythm
111:, the
1221:Blast
300:Blast
259:Blast
246:Blast
130:Blast
1076:2016
1056:2016
1024:site
1001:ISBN
993:ISBN
965:2020
936:link
922:2016
890:ISBN
862:ISBN
837:2016
806:ISBN
787:2018
752:ISBN
722:ISBN
697:ISBN
667:2020
628:ISBN
596:ISBN
546:ISBN
442:Axis
412:and
404:and
393:and
332:and
267:Tate
155:Kent
139:Axis
65:Died
43:Born
592:460
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