Ever heard of an English Cubist? This blue plaque commemorates William Roberts. It marks the place where the artist lived, worked, and ultimately died. Specifically, he resided here at 14 St Mark’s Crescent from 1946 to 1980.
William Roberts was born William Patrick Roberts in Hackney, London, in 1895. Showing artistic talent early, he became an apprentice at an advertising firm. But Roberts’s ambitions went far beyond poster design. He enrolled in evening classes at Saint Martin’s School of Art. Then he won a scholarship to the prestigious Slade School of Art.
At the Slade, William Roberts found himself among other brilliant young artists. Names like Dora Carrington, Paul Nash, and David Bomberg. The Slade emphasized drawing and composition. These principles stayed with Roberts throughout his career.
After the Slade, William Roberts explored Post-Impressionism and Cubism. He even worked at Roger Fry’s Omega Workshops briefly. Roberts then joined Wyndham Lewis’s circle, becoming a Vorticist. His art appeared in their magazine, Blast. Yet, Roberts preferred to call himself a Cubist.
When World War I broke out, William Roberts served as a gunner. Later, he became an official war artist. His experiences shaped his art. He created powerful images of the war, such as The First German Gas Attack at Ypres.
In 1922, William Roberts married Sarah Kramer. Sarah became his model and muse for 60 years. Roberts developed his unique “English Cubist” style. His paintings depicted urban life and mythology. He captured scenes like Bank Holiday in the Park and The Cinema.
The 1930s brought a change in William Roberts’s style. His figures became rounder and more sculptural. Despite his artistic success, Roberts struggled financially. He taught at the Central School of Art to supplement his income.
During World War II, William Roberts and Sarah moved to Oxford. He documented life on the home front. After the war, they returned to London and settled at 14 St Mark’s Crescent.
William Roberts began exhibiting regularly at the Royal Academy. His colorful compositions drew attention. Ernest Cooper, a health-food shop owner, became a patron.
In the 1950s, William Roberts felt slighted by an exhibition focusing on Wyndham Lewis and Vorticism. He published a series of “Vortex Pamphlets” to defend his role.
Recognition came later in William Roberts’s life. He received an award from the Calouste Gulbenkian Foundation. The Tate Gallery held a retrospective of his work. Roberts was elected a Royal Academician.
Despite his success, William Roberts remained wary of publicity. He valued his work above fame. He continued to paint until his death in 1980.
This blue plaque serves as a reminder of William Roberts’s dedication to his art. It honors his contribution to British art history. It marks the place where William Roberts created his unique vision of the world.