Vorticism British Art Movement – 1914 – 1918

This article forms part of the Decorative and Applied Arts Encyclopedia, a master reference hub providing a structured overview of design history, materials, movements, and practitioners.

Abstract Composition is indicative of Laurence Atkinson's work at the time of the Vorticist Exhibition, 1915
Abstract Composition is indicative of Laurence Atkinson’s work at the time of the Vorticist Exhibition, 1915

The Genesis of Vorticism

In the tumultuous years leading to World War I, a bold, new art movement known as vorticism emerged in Britain. Spearheaded by the painter and writer Wyndham Lewis, this movement was a reaction against the pervasive influence of Cubism and Futurism. Vorticism sought to encapsulate the modern experience, emphasizing dynamism, mechanical energy, and the chaotic pace of contemporary life.

Vorticist Aesthetics in Decorative Arts

The Vorticist aesthetic was characterized by harsh, angular forms, a stark contrast to the flowing lines of Art Nouveau that preceded it. This sharp geometry found its way into various forms of decorative arts, including furniture, textiles, and graphic design. The Vorticists’ focus on abstraction and fragmentation reflected the rapidly changing society and the advent of industrialization. These designs often featured bold, black-and-white patterns, giving them a distinctly modern and energetic feel.

Key Figures and Collaborations

Wyndham Lewis and artists like Edward Wadsworth and Henri Gaudier-Brzeska played a pivotal role in shaping the Vorticist vision. These artists frequently collaborated with designers and architects to infuse Vorticist ideals into practical objects, blurring the lines between fine art and applied arts. Their work challenged traditional notions of beauty, emphasizing function and form in equal measure.

Impact and Legacy

Though short-lived, Vorticism’s impact on the design world was significant. It paved the way for later modernist movements and influenced industrial and graphic design development in the 20th century. The movement’s emphasis on simplicity and functionality can be seen as a precursor to the Bauhaus and Art Deco movements.

Vorticism Today: Relevance and Reflection

Vorticism, though a century old, still resonates with contemporary designers. Its emphasis on abstraction, bold geometric forms, and a fusion of art and design remains relevant. As we navigate our rapidly changing technological landscape, Vorticism’s principles challenge us to think about how we integrate art and design into our everyday lives.

Works

David Bomberg, The Mud Bath, 1914, Tate
Abstract Composition is indicative of Laurence Atkinson's work at the time of the Vorticist Exhibition, 1915
Abstract Composition is indicative of Jessica Dismorr's work at the time of the Vorticist Exhibition, 1915
Dazzle-Ships in Drydock at Liverpool by Edward Wadsworth, 1919, National Gallery of Canada, Ottawa

Sources

Tate. (1970, January 1). Vorticism – art term. Tate. Retrieved November 9, 2021, from https://www.tate.org.uk/art/art-terms/v/vorticism.

Additional Reading

Antliff, M., & Klein, S. W. (2013). Vorticism: New Perpectives. Oxford University Press.

Beckett, J. A. N. E. (2022). Blast: Vorticism, 1914-1918. Routledge

Dasenbrock, R. W. (1985). The literary vorticism of Ezra Pound and Wyndham Lewis: Towards the condition of painting. Johns Hopkins University Press.

Wees, W. C. (1972). Vorticism and the English avant-garde. University of Toronto Press.

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