Filippo Tommaso Emilio Marinetti was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolist artistic and literary community Abbaye de Créteil between 1907 and 1908. Marinetti is best known as the author of the Manifesto of Futurism, which was written and published in 1909, and as a co-author of the Fascist Manifesto, in 1919.
Percy Wyndham Lewis was a British writer, painter and critic. He was a co-founder of the Vorticist movement in art and edited BLAST, the literary magazine of the Vorticists.
Vorticism was a London-based modernist art movement formed in 1914 by the writer and artist Wyndham Lewis. The movement was partially inspired by Cubism and was introduced to the public by means of the publication of the Vorticist manifesto in Blast magazine. Familiar forms of representational art were rejected in favour of a geometric style that tended towards a hard-edged abstraction. Lewis proved unable to harness the talents of his disparate group of avant-garde artists; however, for a brief period Vorticism proved to be an exciting intervention and an artistic riposte to Marinetti's Futurism and the post-impressionism of Roger Fry's Omega Workshops.
Futurism was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures included Italian artists Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. Italian Futurism glorified modernity and, according to its doctrine, "aimed to liberate Italy from the weight of its past." Important Futurist works included Marinetti's 1909 Manifesto of Futurism, Boccioni's 1913 sculpture Unique Forms of Continuity in Space, Balla's 1913–1914 painting Abstract Speed + Sound, and Russolo's The Art of Noises (1913).
Umberto Boccioni was an influential Italian painter and sculptor. He helped shape the revolutionary aesthetic of the Futurism movement as one of its principal figures. Despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death. His works are held by many public art museums, and in 1988 the Metropolitan Museum of Art in New York City organized a major retrospective of 100 pieces.
The Manifesto of Futurism is a manifesto written by the Italian poet Filippo Tommaso Marinetti and published in 1909. Marinetti expresses an artistic philosophy called Futurism that was a rejection of the past and a celebration of speed, machinery, violence, youth and industry. It also advocated for the modernization and cultural rejuvenation of Italy.
Henri Gaudier-Brzeska was a French artist and sculptor who developed a rough-hewn, primitive style of direct carving.
Christopher Richard Wynne Nevinson was an English figure and landscape painter, etcher and lithographer, who was one of the most famous war artists of World War I. He is often referred to by his initials C. R. W. Nevinson, and was also known as Richard.
John Rodker was an English writer, modernist poet, and publisher of modernist writers.
Zang Tumb Tumb is a sound poem and concrete poem written by Filippo Tommaso Marinetti, an Italian futurist. It appeared in excerpts in journals between 1912 and 1914, when it was published as an artist's book in Milan. It is an account of the Battle of Adrianople, which he witnessed as a reporter for L'Intransigeant. The poem uses Parole in libertà and other poetic impressions of the events of the battle, including the sounds of gunfire and explosions. The work is now seen as a seminal work of modernist art, and an enormous influence on the emerging culture of European avant-garde print.
"[The] masterpiece of Words-in-freedom and of Marinetti’s literary career was the novel Zang Tumb Tuuum... the story of the siege by the Bulgarians of Turkish Adrianople in the Balkan War, which Marinetti had witnessed as a war reporter. The dynamic rhythms and onomatopoetic possibilities that the new form offered were made even more effective through the revolutionary use of different typefaces, forms and graphic arrangements and sizes that became a distinctive part of Futurism. In Zang Tumb Tuuum; they are used to express an extraordinary range of different moods and speeds, quite apart from the noise and chaos of battle.... Audiences in London, Berlin and Rome alike were bowled over by the tongue-twisting vitality with which Marinetti declaimed Zang Tumb Tuuum. As an extended sound poem it stands as one of the monuments of experimental literature, its telegraphic barrage of nouns, colours, exclamations and directions pouring out in the screeching of trains, the rat-a-tat-tat of gunfire, and the clatter of telegraphic messages." — Caroline Tisdall and Angelo Bozzola
Edward Alexander Wadsworth was a British artist initially associated with the Vorticism movement. In the First World War he was part of a team involved in the transfer of dazzle camouflage designs to ships for the Royal Navy. After the war his maritime landscapes and still-life compositions using tempera were infused with a surrealistic mood - although he never exhibited with the British surrealists. In the early thirties and in the early forties his work was mainly abstract. He made a significant contribution to the development of modern art in Britain in the inter-war years.
Jessica Stewart Dismorr was an English painter and illustrator. Dismorr participated in almost all of the avant-garde groups active in London between 1912 and 1937 and was one of the few English painters of the 1930s to work in a completely abstract manner. She was one of only two women members of the Vorticist movement and also exhibited with the Allied Artists Association, the Seven and Five Society and the London Group. She was the only female contributor to Group X and displayed abstract works at the 1937 Artists' International Association exhibition. Poems and illustrations by Dismorr appeared in several avant-garde publications including Blast, Rhythm and an edition of Axis.
Cubo-Futurism or Kubo-Futurizm was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation.
Russian Futurism is the broad term for a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Manifesto of Futurism", which espoused the rejection of the past, and a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated for modernization and cultural rejuvenation.
Russian Ballet is an artist's book by the English artist David Bomberg published in 1919. The work describes the impact of seeing a performance of Diaghilev's Ballets Russes, and is based on a series of drawings Bomberg had done around 1914, while associated with the Vorticist group of avant-garde artists in London. Centred on Wyndham Lewis and Ezra Pound, the movement flourished briefly from 1914–1915, before being dispersed by the impact of the First World War. The only surviving example of a vorticist artist's book, the work can be seen as a parody of Marinetti's seminal futurist book Zang Tumb Tumb, using similar language to the Italian's work glorifying war, but instead praising the impact of watching the decidedly less macho Ballets Russes in full flow.
Bomberg was the most audacious painter of his generation at the Slade, proving ... that he could absorb the most experimental European ideas, fuse these with Jewish influences and come up with a robust alternative of his own. His treatment of the human figure, in terms of angular, clear-cut forms charged with enormous energy, reveals his determination to bring about a drastic renewal in British painting. —Richard Cork
Cuthbert Hamilton (1885–1959) was a British artist associated with the Vorticist movement and later with Group X. He was one of the pioneers of abstract art in Britain.
Kate Elizabeth Lechmere was a British painter who with Wyndham Lewis was the co-founder of the Rebel Art Centre in 1914. As far as is known, none of Lechmere's paintings have survived. She served as a nurse in England during the First World War and had a three-year relationship with the poet and critic T.E. Hulme before he was killed. After the war she became a successful milliner.
The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915 is a 1961–1962 painting by the English artist William Roberts. It depicts the Vorticist group gathered at a French restaurant in London.
The Wild Body is a series of short stories by Wyndham Lewis that appeared in English and American publications between 1917 and 1922. Nine short stories comprise a series that follows the narrator Ker-Orr in his adventures around Brittany. The first of the series, A Soldier of Good Humour, first appeared in the December 1917 and January 1918 editions of American Literary publication The Little Review. Other stories in the collection are: Beau Sejour, The Cornac and His Wife, The Death of the Ankou, Franciscan Adventures, Brotcotnaz, Inferior Religions and The Meaning of the Wild Body. A later story, Sigismund, was written in 1922 and appeared in Arts and Letters. The final story is You Broke My Dream also written in 1922. The collected short stories were published in a single edition by Chatto & Windus of London in 1927, and Harcourt Brace of New York in 1928.
Hieratic Head of Ezra Pound is a Vorticist sculpture of the American poet Ezra Pound, made in marble by the French artist Henri Gaudier-Brzeska. It belonged to Pound for many years. Since 2009, it is in the collection of the National Gallery of Art in Washington, D.C.
