vorticism

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Related to Vorticist: Wyndham Lewis

vor·ti·cism

 (vôr′tĭ-sĭz′əm)
n.
A short-lived English movement in art and literature that arose in 1914 and was heavily influenced by cubism and futurism.

vorticism

(ˈvɔːtɪˌsɪzəm)
n
(Art Movements) an art movement in England initiated in 1913 by Wyndham Lewis combining the techniques of cubism with the concern for the problems of the machine age evinced in futurism
[C20: referring to the "vortices" of modern life on which the movement was based]
ˈvorticist n

Vorticism

an art movement in England in 1914-15 stimulated by Futurism and by the idea that all artistic creation must begin in a state of strong emotion; its products, intended to establish a form characteristic of the industrial age, tend to use angular, machinelike shapes. — Vorticist, n.
See also: Art
Translations

vorticism

n (Art) → Vortizismus m
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References in periodicals archive ?
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.
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 camouflage.
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.