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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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References in periodicals archive ?
Eliot frequented social circles which included the Vorticists and artists connected to the Bloomsbury group; his first poetic publications in England appeared in Blast: Review of the Great English Vortex, edited by Wyndham Lewis; and in a letter of 1915 to the Boston art collector Isabella Stewart Gardner, he writes of a close interest in modern painting, praising Edward Wadsworth as 'one of the most interesting of the radicals [ .
There was an avant-garde context for wood-engraving as well, which had been revived as a fine-art medium on the continent by German Expressionists and in England by the Vorticists (Miles and Shiel 63).
He launched himself into a career as an artist, working first in oils and watercolours and, from 1919, linocuts inspired by the Futurists and Vorticists.
One thing I love about our collective nod to the Vorticists is that the once avant-garde venom of their form, repostured here, feels anachronistic.
What influence did the Vorticists exert on American printmakers?
Insofar as they reacted to "the Romantic-Victorian tradition" and attempted to reassert the importance of poetry among the public, "the young Georgian rebels of whatever coterie--realists or Vorticists, Futurists or Imagists .
The Vorticists suffered because they were initially reluctant to enlist, leading them to be branded as war shirkers (Black 169-71).
While acknowledging the more obvious connections between Futurism and European subway systems, Ashford's interest lies in the relations between the Tube and Modernism's Vorticists.
Vorticists themselves are described, not as individualistic rebels, but as having an appreciation for tradition and authority (90).
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.
It is crafted in the "abstracted figurative style" of Paul Nash and other Vorticists, visual artists who worked between 1914 and 1918 by "combining machine-age forms and the energetic imagery suggested by a vortex (Vorticists 2011).