The show opens with Bomberg's vast, dazzling, jagged painting “In the Hold” from 1913-14.

展出以Bomberg创作于1913年至1914年间的一幅艳丽、参差不齐的巨画“在隐匿处”（In the Hold）开始。

Bomberg, meanwhile, had an ambitious war commission rejected as “a Futurist abortion”.

同时，Bomberg使雄心勃勃的战争委员会被人们排斥为“未来主义的流产”。

Bomberg begins to pioneer a unique approach to abstraction, evident in “Jewish Theatre” (1913) and “Bathing Scene” (1912-13) .

Bomberg开始开辟一种独特的抽象创作方法，在其作品《犹太剧院》（ Jewish Theatre）（1913）和《沐浴场景》（Bathing Scene）（1912-13）中表现明显。

Gertler, who like Bomberg was on a scholarship supported by the Jewish Education Aid Society, is represented here with clear, pure, Italianate paintings in a vein Tonks would have approved of.

和Bomberg一样，Gertler也受到犹太教育援助协会（Jewish Education Aid Society）的奖学金援助。在此画展中，Gertler具有意大利风格的代表作品明净、纯粹，Tonks也会认同这种风格。

In a memoir written in 1929, well after the end of the war, Tonks described the group—Stanley Spencer, Paul Nash, C.R.W.Nevinson, Mark Gertler, David Bomberg and Dora Carrington—as representing the Slade's last “crisis of brilliance”.

在写于1929年一战结束后的一篇回忆录中，Tonks把Stanley Spencer、Paul Nash、 C.R.W. Nevinson、Mark Gertler、David Bomberg 和Dora Carrington这几位艺术家描述成代表斯莱德最后的“辉煌的危机”。