The interval before Round Ten
05 Jun 1895 - 20 Jan 1980
According to the conventional lineage of modernist art history, vorticism was the English progeny of cubism and futurism. Among its youngest adherents was the author of this robotic report of a boxing match. By the time he painted it, however, William Roberts had already passed through and abandoned the extremes of vorticist practice in favour of a less radical academic cubism. Even so, 'The interval before Round Ten' is a painting imbued with the edgy virility so loved by the vorticists, as indeed by futurists such as Marinetti. Aggression in human behaviour is given visual form in the agitated activity and angular arrangements of Roberts design. And design is the right word for this deliberately anti-naturalist composition. The ferocity Roberts brought to bear on his subjects is akin to caricature. Little fellow-feeling softens his vision of the all-male madness of pugilism, though the painter delighted in it all the same. Fernand Leger's interests in proletarian themes, and something of his tubular style, infiltrate Roberts's work.
AGNSW Handbook, 1999.
oil on canvas
92.1 x 122.5 cm stretcher; 114.0 x 144.2 x 6.8 cm frame
Signature & date
Not signed. Not dated.
Gift of the Contemporary Art Society, London 1965
Not on display
© William Roberts Society
Shown in 4 exhibitions
Recent purchases by the Contemporary Art Society, Arts Council Gallery, London, London, 18 Jul 1964–08 Aug 1964
William Roberts, ARA: retrospective exhibition:
- Tate Britain, England 20 Nov 1965–19 Dec 1965
- Laing Art Gallery, Newcastle- Upon-Tyne, England 01 Jan 1966–22 Jan 1966
- Whitworth Art Gallery, University of Manchester, Manchester 29 Jan 1966–19 Feb 1966
Modern Britain 1900-1960, NGV: International, Melbourne, 15 Nov 2007–24 Feb 2008
Modernists: selections from the European collection, Art Gallery of New South Wales, Sydney, 07 Nov 2015–25 Apr 2016
Sir Osbert Sitwell, London/England, Commissioned by Sitwell
Dr H. Widdup, 07 Feb 1947-1963, Purchased by Dr Widdup from Christie's London, 7 February 1947, lot no. 62, bequeathed to Contemporary Art Society, London 1963
Contemporary Art Society, London, 1963-Jul 1965, London/England, Gift of the Contemporary Art Society, London 1965. Received 1967.
Referenced in 13 publications
René Free, Art Gallery of New South Wales handbook, 'European', pg. 36-56, Sydney, 1988, 55.
Renee Free, Art and Australia, 'European Collection', p.63-75, Sydney, Jul 1972, 75 (illus.).
Renée Free, AGNSW Collections, 'The Western Heritage, Renaissance to Twentieth Century', pg. 108-172, Sydney, 1994, 160 (colour illus.).
Bruce James, Art Gallery of New South Wales handbook, 'Western Collection: Paintings and Sculpture', pg. 17-77, Sydney, 1999, 56 (colour illus.).
Edmund Capon and Jan Meek (Editors), Portrait of a Gallery, 'European 20th Century Art', pg. 91-95, Sydney, 1984, 91.
Clem Lloyd and Peter Sekuless, Australia's national collections, North Ryde, 1980, 256 (illus.).
Art Gallery of New South Wales, Art Gallery of New South Wales picturebook, Sydney, 1972, 43 (colour illus.).
1967 Acquisitions, Sydney, 1967. cat.no. 51
Ted Gott, Unknown and Unknown, Modern Britain 1900-1960, Melbourne, 2007, 69 (colour illus.).
William Roberts ARA: Retrospective Exhibition, London, 1965. cat.no. 6
William Roberts: An English Cubist, 'Back to Bohemia', pg.48-72, Hampshire, 2004, 52, 54 (colour illus.). fig.31
Anne Kirker and Peter Tomory, British painting 1800–1990 in Australian and New Zealand public collections, Sydney, 1997, 26 (colour illus.), 152. cat.no. 1875
Renée Free, Art Gallery of New South Wales catalogue of British paintings, Sydney, 1987, 169 (illus.).