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Men and women in rigid poses, their mouths crying in silent unison, seem trapped on a carousel that revolves endlessly. Gertler was a conscientious objector.


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The fairground ride, traditionally associated with pleasure and entertainment, is horrifically transformed into a metaphor for the relentless military machine. T Merry-Go-Round I and front cover col. Zytaruk and James T. Boulton eds. Lawrence , II, June October , , pp. Lawrence and the Visual Arts , exh. A Tate Gallery Anthology , , p. Also repr: Studio , vol.

John Woodeson suggests that Gertler recalled for this painting a roundabout in the annual fair on Hampstead Heath, near where he had lived from the winter of Woodeson , pl. A letter from D. Lawrence to Zoe Akins of 15 September describes a special fair then on the Heath that may also be relevant Zytaruk and Boulton eds. It is queer'. Both the colours, and his remarking the odd contrast between wounded soldiers and public enjoyment, connect this comment with his friend Gertler's painting.

He had been a close friend of Bomberg for some years but, in comparison with his work, Gertler's own had remained naturalistic in style.


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  4. Woodeson states that it was finished by the following autumn. Lawrence continues in his letter Zytarak and Boulton eds. Gertler's own attitude to the war is known. In he was aged twenty-five and was threatened with conscription. He was a pacifist and is likely to have been considering declaring himself a conscientious objector, as had some of his friends in the circle of Lady Ottoline Morrell.

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    I don't know exactly what that means, but I just hate the war' in Christopher Hassall, Edward Marsh , , p. It was regarded as the most striking painting in the exhibition but even the favourable descriptions did not take it to be a serious work.

    The painting was regarded in the first place as a provocative example of modernity in art and secondly as a decoration, intending no more than a description of a fun fair. RA exh. The back of the canvas is covered with dabs of paint, as if the artist had been trying out colours while this painting was stretched and placed face to the studio wall.

    The inscription on the reverse was painted over these colours.


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    British and French, Browse and Darby, June-July 9 , where it is said to have been purchased from the artist by John Drinkwater in Leicester Museums and Art Gallery: Collection of Paintings , permanent collection catalogue, , no. Farleigh School Pre-prep, Hampshire. Rave reviews from the Head, the teachers and parents.

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