As for his art, Lewis was a vocal modernist in traditional England, promoting Vorticism, a form of Cubism around the time of the outbreak of the Great War. This was in part through his own works and also via his publication "Blast." More biographical information can be found here.
For this post, I'm setting aside his Vorticist work to focus on his portraiture. This was highlighted in a 2008 exhibit at London's National Portrait Gallery.
Early in his career Lewis considered himself a modernist, one of those self-anointeds who were to remake just about everything, including art. But by the late 1930s he conceded that things weren't working out as intended. And as early as 1919, Lewis' portrait drawings were an interesting blend of modernist simplification and accurate portrayal. His subjects' appearances and personalities show strongly in part because simplification was only lightly applied and tended to be dominated by his sure control of line. This ability resulted in drawings that usually outshone his painted portraits.
Lewis and the poet were good friends when this drawing was made.
Lewis did several portrait drawings of Joyce.
His drawings of Sitwell eventually led to a painted portrait that I included in this post (scroll down).
Lewis married Hoskins in 1930. She was called "Froanna" by then, but mostly remained in the background while Lewis was alive.
Portrait of a fellow portrait artist.
Lewis and West were miles apart politically, but got along personally.
This, and his portrait of Sitwell, are perhaps Lewis' best-known portrait paintings.
I'm not sure who the sitter is, but include this because it was painted only a few years before he realized that he was starting to go blind. Lewis continued to paint while he was able, but quality began to fall away.