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(vôr`tĭsĭzəm), short-lived 20th-century art movement related to futurismfuturism,
Italian school of painting, sculpture, and literature that flourished from 1909, when Filippo Tommaso Marinetti's first manifesto of futurism appeared, until the end of World War I.
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. Its members sought to simplify forms into machinelike angularity. Its principal exponent was a French sculptor, Gaudier-BrzeskaGaudier-Brzeska, Henri
, 1891–1915, French sculptor. He was the chief exponent of vorticism in sculpture. Mainly self-taught in England and Germany, Gaudier showed exceptional precocity in his draftsmanship, animal figures, and abstract works such as The Dancer.
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. The movement, however, had its largest following in England, where Wyndham Lewis, Ezra Pound, James Joyce, and T. S. Eliot wrote about it.


See W. C. Wees, Vorticism and the English Avant-Garde, 1910–1915 (1972).

References in periodicals archive ?
With the aim of tracing Lewis's shift from avant-garde artist to countermodernist critic, Andrzej Gasiorek structures the second chapter around the Vorticist magazine BLAST and the First World War as causes behind the development of Lewis's exceptionally complex and dialogical critical method.
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 .
In the 1910s the First World War and the death of Gaudier Brzeska determined for Pound the reasons of his poetry and of The Cantos then in fieri: these reasons can be syncretized in a vorticist sense with these lines from the Pisan Cantos (Canto 78), where Pound is quoting the Spring and Autumn Annals, that he attributed to Confucius:
His 1914 essay on "The New Sculpture" praises hard-edged, abstract forms, and his 1916 memoir of Gaudier-Brzeska, revealing the tenets of his Vorticist movement, compares Vorticist poetry to analytic geometry, as both aim to capture "the universal, existing in perfection, in freedom from space and time" (91).
Smoke Screen by Phoebe Mitchell is a lovely blend of purples and mauves in a hypnotic pattern, and Vorticist.
Loss takes this passage as a knowing, if critical, engagement with both Vorticist and Futurist rhetoric (162), while McCartney, highlighting its deployment of a Bergsonian language of "being" and "becoming" (Waugh, Vile 135), sees it as intervening in a still broader modernist debate informed by the French philosopher (McCartney 38).
The Geometry of Modernism: The Vorticist Idiom in Lewis, Pound, H.
The vorticist nature of Pavese's aesthetics is summarized in his motto in which beginnings are what really matter: "L'unica gioia al mondo e cominciare.
The text of the essays, creatively typeset by Roettinger, resembles the vorticist magazine BLAST
This reviewer might perhaps have chosen William Roberts' Crucifixion with its gathered crowds and its Vorticist energy and movement with the potential for reflection on the political and social context of the death of Jesus; or the remarkable Deposition by Graham Sutherland where the body has been placed in a lidless tomb under the cross which looks almost like a baptistery with its potential for reflection on the meaning of baptism.
Andrew Graham-Dixon talks to an avid collector of Vorticist artist David Bomberg's work.
Lewis's "Bless" and "Blast" lists formed part of the Vorticist Manifesto, published in Blast 1 on June 20, 1914.