vorticism


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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 ?
Facing tradition Pound considered himself a Futurist, and despite all differences between Futurism, Vorticism and Imagism, he stated:
Singer's paintings testify to her great fascination with the visual rhetoric of the historical avant-gardes by reactivating the formal aesthetics of Constructivism, Futurism, and Vorticism and the somber palette of grisaille.
The Italian Futurists inspired the foundation of the British modernist movement, Vorticism.
In art, vorticism and cubism stretched old approaches; in poetry, free verse broke old forms; and in music about 1912, ragtime overturned the waltz and two-step.
Like many of his contemporaries, Rodker embraced Imagism and Vorticism, which dismissed traditional art forms in favour of an anti-bourgeois, nonrepresentational aesthetic that spread across Europe in successive waves and under numerous guises during the first three decades of the twentieth century.
Energy concentrated in exactness" was the organizing principle of Pound's Imagism, and later of Vorticism.
Scholars who study these connections are able to uncover significant aesthetic overlaps between Anglo-American, French, German, and Russian avant-garde movements such as Imagism, Acmeism, Symbolism, Futurism, Vorticism, Constructivism and others (Painter 3).
Vorticism was really our answer to Futurism, to which Lewis was deeply opposed, so sought to impose his own ideals, but it all came to nothing as the war dragged on, in spite of a futile attempt by Lewis to revive it in 1921.
The anarchic, unassimilated, go-as-you-please bohemianism of the 1890s, which had been viewed with alarm by the literary and social establishment, was replaced by avant-garde elites whose allegiances and antagonisms, schisms and competing 'isms' (Imagism, Vorticism, and the like) went largely unheeded by society as a whole.
Wragg then proceeds to describing what he calls the "aporias of vorticism," describing the "machine aesthetic" and deconstructing the idea of vortex.
It may have taken the turmoil leading up to World War I to galvanise groups of artists towards collectivities of aesthetic revolt, but by the second decade of the twentieth century a proliferation of -isms had emerged (Futurism, Dadaism, Vorticism, Cubism, Rayonism, Imagism, Constructivism (8)) to challenge society's mores.
British poets were appalled by the militarism and violence implicit in the Futurism and Vorticism that excited many of the pre-war modernists, while the Germans could look to an Expressionism that offered ways of presenting intense and dramatic feeling without sentimentality.