(redirected from Vorticists)
Also found in: Dictionary.


(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.
..... Click the link for more information.
. 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.
..... Click the link for more information.
. 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 ?
For all the ways in which the Vorticists emulated Marinetti and his followers, there were significant differences between the movements' aesthetic approaches.
The Vorticists announced their arrival with two issues of a magazine called Blast, written by Lewis, a "great self-publicist".
If we view professionals as knowledge-based groups concerned with self-legitimation, treatises such as the Vorticist manifestos of Wyndham Lewis and Ezra Pound, Mina Loy's "Feminist Manifesto," and the numerous Futurist manifestos responded to this perceived threat by articulating uniquely modernist approaches to the problem of group identity.
19) For a brilliant reading of what those new discourses look like, see Janet Lyon, "Militant Discourse, Strange Bedfellows: Suffragettes and Vorticists before the War," Differences 4.
Like the Futurists, the Vorticists advocated a break with the past and a modern art that embraced the industrial, the urban, the mechanical and the abstract.
The ambition of the Pompidou show was to situate the genesis of Futurism in the extensive back-and-forth that took place in Paris between the Italian painters and their fellow artists, including not only Picasso, Braque, and the Salon Cubists but also the Orphists, Russian Cubo-Futurists, and British Vorticists.
The former were painters of exceptional originality, using emotive colours in paintings as different from, and more advanced, than anything to be seen in Britain prior to the appearance of the Vorticists in 1914.
In Britain, a Futurist-inspired cult of tactility was promoted by Percy Wyndham Lewis (1882-1957) and the Vorticists.
And many Futurists were not Italian: They were, for instance, French, or Czech, or British Vorticists, or hapless poetry-spouting Russian Communists.
Roberts, one of the key Vorticists, and later a painter and chronicler of contemporary British life, is among the best represented artists in the collector's catalogue of more than 100 20th-century artists.
Cadell was the only Scottish Colourist to serve, and although the angular, jagged forms of the rocks on Iona become more pronounced afterward, his oeuvre, apart from a lost work entitled Poisonous Gas, betrays little of the horrors of war, unlike that of his contemporaries the Vorticists.
Uniting over 100 works as well as rarely seen Vorticist photography, 'The Vorticists: Manifesto for a Modern World' explores the radical early 20th-century British movement and its links with the American avant-garde.