He attended pottery classes at Camberwell School of Arts and Crafts and worked at Yeoman Pottery in Kensington, coming under the influence of Cuthbert Hamilton, a member of the Vorticist
group who had worked at the Omega pottery with Roger Fry, Vanessa Bell and Duncan Grant.
A rare stoneware Vorticist
vase by William Staite Murray dated 1924, covered in an iron rich glaze over celadon with cut Vorticist
decoration to the body.
Although Bru offers insightful quotes and entertaining anecdotes, this chapter is too overarching which results in the rather too sketchy treatment of issues such as abstraction, representation or the object of art, and in the bypassing of the fundamental art theory needed to frame such complex dynamics and highlight more solidly the crucial differences between Vorticist
art and its continental counterpart.
Walter Wadsworth's son Edward became an internationally famous Vorticist
(modernist) artist and invented a way to paint battleships to camouflage them.
6), began his life as a potter in 1915 in the pottery studio of the Vorticist
painter Cuthbert Hamilton.
Hulme's "Romanticism and Classicism" and the vorticist
manifesto included in Blast's inaugural issue also makes it clear that from its very beginning Anglo-American Modernism was as interested in looking back to Classical tradition as it was in novelty and existed as a pointed stance against the status quo of modernity.
Tollof Nelson nos propone que "Orientalism married Modernism through the haiku aesthetic of arts as theorized and promulgated by Ezra Pound's Imagist and Vorticist
manifestos before WWI (1908-1914)" (187).
The individual identities of some sitters are covered by Mondrianesque geometries, while others hide behind the angular lines of Vorticist
She was swept into a social milieu fueled by alcohol and sexual freedom and became a regular at the Vorticist
hangout, the Eiffel Tower Restaurant.
By 1915 Rosenberg's pamphlet Youth had found its way into the hands of Ezra Pound, most likely through his art school friend, the Vorticist
painter David Bomberg.
From the "slap in the face of public taste" invoked by Burliuk, Kruchenykh, Mayakovsky and Khelbnikov in their manifesto of the same title (Caws 230), to the "blasts" launched against numerous adversaries, including England and France, in Wyndham Lewis's Vorticist
manifesto, aggressiveness became an integral component of the language of an avant-garde intent on attacking the institutions of bourgeois life.
I would not refer here to the details of the querelle between Marinetti's Avant-garde and the Vorticist
movement after the publication of the English Futurist manifesto, Vital English Art, in the June 1914 edition of The Observer, but I would like to quote Pound directly from his lecture Vorticism, delivered in 1914 at the Rebel Art Centre.