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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 ?
Nevinson, often to be found in the Cafe Royal, was Marinetti's foremost supporter in London, and coauthor of the Futurist manifesto Vital English Art (1914) that caused Lewis to expel him from the Rebel Art Centre, expediting the formation of Vorticism.
The fascination with visual aspects was used to subvert discursive meaning in the works by Marcel Duchamp, the art-game experiments of the Surrealists, the compositions of Tristan Tzara and the Dadaists, Russian constructivism, the anti-art mechanical sensibility of the Futurists, Ezra Pound's Vorticism or Joyce's language puns in Finnegans Wake.
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.
Pound's Imagism, for that matter, was not as interested in Chinese translation as was his Vorticism, though this is not how most people remember it.
A Hyperspace Poetics, or, Words in Space: Digital Poetry Through Ezra Pound's Vorticism.
His rooms broadcast many defining expressions of the Formalist and late Aesthetic movements: McKnight Kauffer, the poster designer who splashed cubism, futurism, and vorticism across the London Underground; the Poetry Bookshop, which enlisted Aesthetic paragons such as Burne-Jones to decorate pages of modern verse; and Van Gogh, who today seems well outside mere decorations, but whose early detractors complained that he reduced the world to filigree and mere form, treating skies and landscapes as "a decorator might a wall-paper.
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).
Harford's brother Esmond and his friends had introduced her to the European movements of Cubism and Vorticism.
Pound's shift from imagism to vorticism provides a good example of how Bergson's vitalism animated aesthetic resistance to the empiricist and epistemological frameworks that made temporal extension and action aporetic.
Dasenbrock, Reed Way, The Literary Vorticism of Ezra Pound and Wyndham Lewis, Baltimore: Johns Hopkins University Press, 1985.