Wadsworth was equally interested in the new vision of the world opened up by air travel. Since so many of his paintings of the Vorticist period have been lost, woodcuts provide a valuable insight into his approach; in his extended series he often looks down on northern industrial centres from far above. This dizzying new perspective enabled him to organise his forms in a remarkably abstract way, even though he retained reference to factory chimneys, railway lines and striped fields.
Wadsworth served in the Royal Naval Volunteer Reserve until invalided out in 1917. Wadsworth's vast painting of Dazzle-ships in Drydock at Liverpool (3×2.4 m; 1919; Ottawa, N.G.) heralded his return to a more representational way of seeing.
Maritime themes were his principal subjects in the following period. They led him, at first, in the direction of a more straightforward naturalism. A strain of Surrealist unease and expectancy gradually entered Wadsworth's work.
Wadsworth travelled widely and contributed to the Parisian journal Abstraction-Création. He also became a founder-member of Unit one, a group dedicated to promoting the spirit of renewal in British art between the wars. He became an ARA in 1943.
Edward Wadsworth, Early Woodcuts (exh. cat., intro. R. Cork; London, Christopher Drake Ltd, 1973)
Edward Wadsworth, 1889–1949: Paintings, Drawings, Prints (exh. cat. by M. Glazebrook, London, Colnaghi's, 1974)
Edward Wadsworth: Paintings and Drawings from the 1920s (exh. cat. by M. Glazebrook, London, Mayor Gal., 1982)
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