03098cam a22003373u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000060011910000310012524500240015626400510018030000470023133600260027833700260030433800360033050000310036650802170039752018430061453400570245765300560251465300560257085600720262685600430269899900190274177565UtSlPG20260610134809.0mcr n260607r20251919utu|||||o|||||||||||||| d  a82207785  aUtSlPG 7aen2iso639-1 4aN1 aLewis, Wyndham,d1882-195714aThe caliph's design 1aSalt Lake City, UT :bProject Gutenberg,c2025  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2025-12-29  aPaul Fatula, Mary Glenn Krause, Brigham Young University and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)  a"The caliph's design" by Wyndham Lewis is a polemical art pamphlet and manifesto written in the early 20th century. It argues that modern life is visually impoverished and calls for a radical alliance between painter and engineer to replace moribund architecture and bring living design into the streets. Challenging studio-bound dilettantism, it critiques aspects of Cubism, Futurism, and fashion-driven taste while championing constructive, public-facing art in the spirit of Cézanne.

The opening of this work lays out its thesis in a sharp preface and a vivid parable: a Caliph sketches a bold, “vorticist” street and compels an engineer and an architect to realize it overnight—proof that daring vision can drive practical form. From there, the author attacks the cult of the “queer” and the deliberately banal in modern taste, urges politicians to recognize how depressing streets sap collective life, and argues that while great artists can transform anything, most creators (and the public) need better form-content in the world around them. He calls for replacing the conventional architect with a painter–engineer partnership, critiques skyscraper pastiche and academic make-believe, and dismisses the sentimental fetish for child and “naïf” art (with Rousseau as the rare exception). He reframes machinery as raw material for art rather than an idol, contrasts the lucky seclusion of Sung painters with the coerced craft of Assyrian sculptors, and then pivots to larger reflections on the artist as primal creator, the distortions of fashion, and an early survey of Paris trends—praising Cézanne’s constructive legacy while warning that nature morte Cubism and fashion-driven experiments risk gluttonous, studio-bound cleverness over genuine construction. (This is an automatically generated summary.)  pOriginally published:cLondon: The Egoist Ltd., 1919  aAvant-garde (Aesthetics) -- History -- 19th century  aAvant-garde (Aesthetics) -- History -- 20th century4 uhttps://archive.org/details/caliphsdesignarc01lewi/page/n4/mode/1up40uhttps://www.gutenberg.org/ebooks/77565  c118285d118285