Editing Vorticism (section)

== Vorticist Exhibition ==
[[File:Laurence-Atkinson-Abstract-.jpg|thumb|200x200px|''Abstract Composition'' is indicative of Laurence Atkinson's work at the time of the Vorticist Exhibition, 1915]]
[[File:Jessica Dismorr - Abstract composition 1915.jpg|thumb|200x200px|left|''Abstract Composition'' is indicative of Jessica Dismorr's work at the time of the Vorticist Exhibition, 1915]]

The publication of ''BLAST'' could not have come at a worse time, as in August 1914 Britain declared war on Germany. There would be little appetite for avant-garde art at this time of national and international crisis; however, a ‘Vorticist Exhibition’ went ahead at the Doré Galleries in New Bond Street the following year.<ref>Opened 10 June 1915.</ref> The forty-nine ‘Vorticist’ works by Dismorr, Etchells, Gaudier-Brzeska, Lewis,<ref>One of the few surviving paintings from this exhibition is Wyndham Lewis's ''Workshop'' ''c''.1914–15 in the Tate collection.</ref> Roberts,<ref>Study for William Roberts's ''[http://www.englishcubist.co.uk/twostep2.html Two Step.]''</ref> Saunders<ref>[https://www.tate.org.uk/art/artworks/saunders-vorticist-design-t15089 Helen Saunders, ''c''.1915 ''Vorticist Design''] in the Tate collection.</ref> and Wadsworth showed a commitment to hard-edged, highly coloured, near-abstract work. Perhaps by way of contrast (or comparison), Lewis also invited other artists including Bomberg and Nevinson to participate.<ref>Those listed as having been ‘invited to show’ were [[Bernard Adeney]], Lawrence Atkinson, Bomberg, Duncan Grant, [[Jacob Kramer]] and Nevinson (labelled ‘Futurist’).</ref>

A catalogue foreword by Lewis clarified that ‘by Vorticism we mean (a) ACTIVITY as opposed to the tasteful PASSIVITY of Picasso (b) SIGNIFICANCE as opposed to the dull anecdotal character to which the Naturalist is condemned (c) ESSENTIAL MOVEMENT and ACTIVITY (such as the energy of the mind) as opposed to the imitative cinematography, the fuss and hysterics of the Futurists.’<ref>Cork, ''Vorticism and Its Allies'', p.25</ref> The exhibition was largely ignored by the press, and the reviews that did appear were damning.<ref>For example, P. G. Konody in ''The Observer'', 4 July 1915: ‘the “Vorticists” continue their antics in times as serious and critical as the present.’</ref>