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A short-lived English movement in art and literature that arose in 1914 and was heavily influenced by cubism and futurism.


(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


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


n (Art) → Vortizismus m
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What influence did the Vorticists exert on American printmakers?
The British Vorticists, sensing, perhaps, where their native country's reputation still lay, praised ships over planes in their 1914 manifesto for Blast, though its illustrations did include Edward Wadsworth's dynamic composition A Short Flight (c.
Other artists have gone even further in their celebration of industry and technology: the Futurists, the Vorticists, some of the Cubists (Fernand Leger most particularly), the recent pictorial and cinematic experiments of David Lynch, notably in his "Industrial Symphonies".
They did so with measurable effect in that their implementation of shock tactics was not simply textual, like those of the British Vorticists, for example, but also actual.
Through Pound, Rodker was introduced to the Vorticists, the English avant-garde movement spearheaded by Wyndham Lewis and inspired by Italian Futurism; other members of the group were Henri Gaudier-Brzeska and Edward Wadsworth.
My years in Italy but also Escher and Morris are great inspirations, I love the work of the vorticists and how close to pattern they are.
Literary, visual, and abidingly iconoclastic, the Vorticists aped many of the Futurists' performative, counterculrural antics, holding their own "Blast Dinners" and "Vorticist Evenings" and publishing the journal Blast in emulation of Futurist typographic experimentation.
It has been suggested that her work from this time, along with that of her husband, has been associated with that of the Vorticists, an avant-garde group led by fellow artist and writer Wyndham Lewis in the London of 1914.
Roberts was a London art college contemporary of Stanley Spencer and one of a group of artists, led by Wyndham Lewis, who added to the art history lexicon by terming themselves Vorticists.
Hence the energy of the English Vorticists, seen in Wyndham Lewis's Dancing Figures (1914) and Christopher Nevinson's Dance Hall Scene (1913-14).
The Cubists, Futurists, Imagists, Impressionists, Vorticists had all taken a hand at rejuvenating the sad and perplexed Muse.
Henley, the Vorticists, Wyndham Lewis, and Filippo Marinetti expressed a new fascination with violence, machinery, war, imperialism, "the angle" (in contrast to Art Nouveau's sinuous curve) --and a dangerous boredom with the Gladstonian ideal of a commercial peace.