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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 ?
They were also very modern, for in the trenches Nash had embraced the techniques (if not the tenets) of Vorticism.
In the end, however, Blast itself offers students the best demonstration why Vorticism became an implausible model for soldier poets.
Pound may be known best in some circles for his role in such important movements as Imagism or Vorticism and for his discovering and/or championing of several modernist writers, including James Joyce, T.
Harmon then discusses Pound's varying definitions of Imagism and Vorticism, both of which elaborate how the painterly values of the image can suffuse the musical values of poetry in both thematic and formal ways.
Like the various groupings he would form with artists like Yeats and Eliot, or the larger communities he would create through literary movements--such as Vorticism and Imagism--and manifestoes, this project for a college was a call for a community or fratemity.
One section summarizes sixty-one significant art movement--from Abstract Expressionism to Vorticism.
Before moving on to Pound's key achievements in Cathay and Propertius, I suppose I'd better explain that the absence of the sanctified taxonomy of Poundian verse --symbolism, imagism, vorticism, logopoeia, melopoeia, Ideogrammic Method, phanopoeia, et hoc genus omne--here is motivated by a conviction that these counters were always at best uselessly vague and volatile, at worst obfuscatory.
The recent exhibition 'Blasting the Future: Vorticism in Britain 1910-1920' at the Estorick collection of Modern Italian Art, London, and also at the Whitworth Gallery, Manchester, placed Italian Futurism firmly at the heart of the English modernist experiment in the second decade of the twentieth century.
It is but a short step from that perspectivism to Ezra Pound's Vorticism, and Iser's description of that development is well phrased:
In these following comments on Alain Robbe-Grillet's antihumanist thesis Towards a New Novel (the influential avant-garde text of the sixties) Nortje cobbles together an extremely conservative view of the poetic process that owes much to Pound's vorticism and Eliot's "objective correlative":
While the 1986 landmark exhibition "Futurism and Futurisms" at the Palazzo Grassi in Venice captured the gamut of media that is the movement's defining characteristic, it included related developments, from Russian Rayonism to British Vorticism.