By Miranda B. Hickman
Addressing either the literature and the visible arts of Anglo-American modernism, The Geometry of Modernism recovers a vital improvement of modernism's early years that in the past has bought little sustained serious cognizance: the precise idiom composed of geometric types and metaphors generated in the early modernist stream of Vorticism, shaped in London in 1914. concentrating on the paintings of Wyndham Lewis, chief of the Vorticist move, in addition to Ezra Pound, H.D., and William Butler Yeats, Hickman examines the advanced of explanations out of which Lewis firstly cast the geometric lexicon of Vorticism—and then how Pound, H.D., and Yeats later spoke back to it and the values that it encoded, enlisting either the geometric vocabulary and its attendant assumptions and beliefs, in transmuted shape, of their later modernist work.
Placing the genesis and appropriation of the geometric idiom in historic context, Hickman explores how regardless of its brevity as a move, Vorticism actually exerted massive influence on modernist paintings of the years among the wars, in that its geometric idiom enabled modernist writers to articulate their responses to either own and political crises of the Nineteen Thirties and Nineteen Forties. knowledgeable by means of large archival learn in addition to remedy of numerous of the least-known texts of the modernist milieu, The Geometry of Modernism clarifies and enriches the legacy of this very important period.
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