Lambasting the 'sins and infections' of a nation still clinging to its Victorian values, Wyndham Lewis and his fellow pre-war poets, artists and thinkers championed an art that sought to reflect the dynamic, mechanistic energy of the modern world: Vorticism.

Launched with sound and fury by the first edition of Blast magazine in 1914, Vorticism borrowed its fragmented structures from Cubism and its dynamism from Futurism.Lambasting the 'sins and infections' of a nation still clinging to its Victorian values, Wyndham Lewis and his fellow pre-war poets, artists and thinkers championed an art that sought to reflect the dynamic, mechanistic energy of the modern world: Vorticism. Launched with sound and fury by the first edition of Blast magazine in 1914, Vorticism borrowed its fragmented structures from Cubism and its dynamism from Futurism.Great emphasis was placed on outline and clarity of form. Delighting in the technological advances of their age, the Vorticists celebrated 'forms of machinery, factories, new and vaster buildings, bridges and works', and these images dominated the two exhibitions of the movement's short lifetime. Interrupted by the demands of the First World War, Vorticism was to die a premature death in 1918 after just two editions of Blast, one exhibition in New York and one in London.On show here are more than 100 paintings, in addition to sculptures, photographs and literary material. The exhibition places new emphasis on the transatlantic nature of what is generally understood as a British movement, exploring the artistic interaction of British and American figures such as William Roberts, Ezra Pound, TS Eliot and Henri Gaudier-Brzeska.

Tate Britain

Millbank, London, SW1P 4RG

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