Vorticism | Articles on Contemporary Art Movements

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Vorticism was a brief literary and artistic movement, formed in London shortly before The First World War. The dates of its existence can be argued, but just over a month after Vorticism was declared in its 1914 publication 'Blast', war with Germany was declared, and Vorticism was effectively brought to an end. However, largely through the perseverance and determination of its leader Wyndham Lewis, and American poet Ezra Pound who named the group (referring to a huge concentration of energy), Vorticism succeeded in engaging and impacting on the British art scene through the war years, and continues to today across the world. Lewis described the Vorticist as being at the silent centre of a whirlpool, where there is the maximum concentration of energy. An attempt by Lewis to reform the group in 1920, under the name Group X was unsuccessful. Other artists included Lawrence Atkinson, David Bomberg, Jessica Dismorr, Cuthbert Hamilton, Jacob Epstein, Henri Gaudier-Brzeska, William Roberts, Helen Saunders and Edward Wadsworth. Much of the original Vorticists art work has since been lost or destroyed. Vorticism is seen by many as the response in Britain to French Cubism and Italian Futurism. Despite Lewis's hostility towards it, Futurism was clearly a huge influence on both Vorticism's writing and visual art. Lewis also saw Vorticism as an alternative to Expressionism.
Vorticism arose from The Rebel Art Centre. An artists headquarters set up and managed by Lewis in March 1914 in direct rivalry to Omega Workshops, Lewis's previous work place, where he had left after an angry dispute with its founder, Roger Fry. Lewis's friend Kate Lechmere paid the 6 month lease for The Rebel Art Centre, which housed Lewis's studio, plus additional rooms for lectures and discussion. Omega was restrained and decorative. Lewis had in mind something more radical to affront the 1909 first manifesto of the Futurists.
The first 'Blast' magazine contained two intentionally antagonistic manifestos proclaiming Vorticism as a new dynamic reaction to a dilapidated art scene and suffocating Edwardian culture. Despite being intended as a regular publication, only one further issue of Blast was produced, in 1915, and included the first published works of T.S. Eliot. 1915 was the same year as their only London group exhibition, at Dore Galleries. A 1917 exhibition at the Penguin Club in New York was to be Vorticism's second, and last. Both issues of 'Blast' were edited by Lewis. 'Blast' can be credited particularly for its then original and striking typography, as a significant influence on graphic design over the following two decades.
Vorticist art work is often recognisable by harsh geometric, at least partially abstract composition, drawing the eye towards the centre of the image. At the time, public reaction to it was sceptical. The national press often made jokes, and published cartoons deriding Vorticist art work. In 1917 Alvin Langdon Coburn, collaborating with Pound, invented Vortography. A kaleidoscopic method of using mirrors to capture, what is credited as, the first fully abstract photography. It was named in reference to Vorticism, although also draws influence from Cubism.
A 1956 exhibition at the London Tate Gallery titled 'Wyndham Lewis and Vorticism' prompted other members of the group to publicly challenge the prominence Lewis was given. The exhibition included 150 art works by Lewis, and only a small selection of work by others. Roberts even produced a series of 'Vortex Pamphlets', challenging the idea of the other artists being 'subservient to Lewis'.
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