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Blast: Vorticism 1914-1918Editions
Review
It is generally accepted that it was the exhibition arranged by Roger Fry “Manet and the Post-Impressionists” in 1910 which became the starting point for new ideas in art in this country, in parallel with the social and political ferment of the times, in which radically new practices in the visual arts were introduced. The climax came in Spring 1914 with a genuinely identifiable form of geometric abstraction, and was revealed in its own vibrant and aggressive magazine “Blast” in which the American poet Ezra Pound christened it “Vorticism”. Although the artists involved were initially inspired by the ideals of Fry, the Italian Futurist Marinetti was also a tremendous influence. Initially the group consisted of Wyndham Lewis, C.R.W Neninson, David Bomberg and Frederick Etchells, all of whom united to promote a “masculine” art form. Yet the political agenda in the magazine struck a chord with the women artists like Dorothy Shakespear and Kate Lachmere who were soon drafted into the brotherhood. Amongst the most enduring achievements were the sculptural works of Henri Gaudier-Brzeska and Jacob Epstein - in particular the latter’s “ Rock Drill” which has become iconic of the whole movement. It was almost inevitable that with so many talented artists and particularly the quarrelsome Wyndham Lewis, that the momentum could not be sustained for long. Many of the group were seconded as war Artists and we owe to them some of the most potent images of the Great War. After an exhibition in New York in 1917 and despite the best efforts of Pound the movement petered out with a last blast in Lewis’ pamphlet of 1919 “The Calaph’s Design : Architects! Where Is Your Vortex?” Some of the group changed their style and no longer wished to be identified with their youthful efforts, Roberts continued to hone his style into sterility and it was left to Lewis, the tactless and aggressive self-publicist, to claim the glory of their collaboration. Always appreciated abroad, the reassessment of the movement in this country was largely due to the dealer Anthony D’Offay and the critic William Cork whose Study “Vorticism and Abstract Art in the First Machine Age” remains the definitive account of this highwater mark in British art. The illustrations in this current work, 60 or so in black and white and 40 colour plates are of a very high quality and certainly whet the appetite for more. There has not been a show of these works here in Britain apart from an excellent small private collection at the Fine Art Society a couple of years ago. The time is surely ripe for a major exhibition of these almost forgotten masterpieces. - review by Stewart Grimshaw |
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John Sandoe [Books] Ltd |
This study of the avant garde British art movement, Vorticism, is the English language version of the publication which accompanied an exhibition held in Hanover and Munich in 2000. Even now this important milestone in Modernist art is more revered in Europe than here.
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