Wyndham Lewis style reference and prompts

A geometric modernist painting organizes space through tall compressed planes, repeated arcs, and sharply converging diagonals. Broad shapes have firm cut edges, yet their interiors retain slightly mottled pigment and dry brush variation. Blue-black and violet-gray masses occupy most of the frame, while ivory light and small ochre-yellow accents create a strong value hierarchy. Curved bands cross rigid verticals, producing layered depth without delicate surface description. Directional illumination cuts bright wedges into the darker structure and projects long parallel shadow bars across pale areas. Repetition draws the eye toward a tight central distance; the upper and side margins remain visually heavy while the lower zone opens into light. The effect is dramatic, rhythmically fractured and spatially compressed.

A square modernist painting looks down a narrow city street framed by massive dark arches and steep facades. The road begins as broad pale planes along the lower edge, then contracts sharply toward a small passage in the center distance. Closely spaced linear shadows run across the pavement toward that point, making the ground feel both sunlit and restless. On the left, deep blue-black walls carry a few tall windows and an open doorway filled with warm yellow light. Across the right side, a heavier arch rests on a dark vertical support, and pale gridded glazing recedes behind it. Above the street, one broad arch sweeps across the upper center while slimmer curved spans repeat farther back. Their curves interrupt the pointed roofs and straight vertical walls, producing a layered, almost theatrical ceiling over the passage. Small warm yellow and ochre areas glint inside the otherwise cool architecture. The distant facades shift between ivory, violet gray and muted blue as they approach a cloudy mauve sky. Forms are built from hard-edged geometric planes rather than fine brick or stone detail, with visible brush texture and slightly broken color inside the larger shapes. Light enters from the upper left and reaches the street in a bright diagonal patch; the arches cast long, decisive bars of shadow across it. No people or readable signs appear in the scene. The overall composition pulls the eye through a compressed central corridor, balancing cool angular mass with a few glowing warm openings and a sense of urban unease.