Thanks for the comment. Regardless of whether the Vorticists did not want to be associated with the Furitists the fact remains that they were. My comment that the Vorticists were the British branch of Futurism will therefore stand as I think it is a valid and correct statement.

Nic

You can definately see the influence of Brangwyn in Carcassonne, and the palette is also reminiscent of the industrial posters of the machine age that were being produced in the period.

Please forgive me, but I’d just like to point out that Vorticism was not the ‘British branch of Futurism’ as you state in the first paragraph, and the Vorticists even signed and published a letter that proclaimed that they did not want to be associated with the Italian movement in anyway. The only English artist to officially align himself with the Futurists was C.R.W Nevinson who signed the ‘Vital English Art’ manifesto with Marinetti – the leader of the Futurist movement.

Granted, the two styles may superficially resemble each other, however when properly examined, the compostions are radically different; Futurism favoured dynamic movement, whereas Vorticism generally centred around a centrifugal point or ‘vortex’, hence the name of the movement.

Best wishes,

Chris Agnew,
London

Great article and excellent blog! I am impressed by Francis Berry’s work.

You are right, there are some emerging names that aren’t known to the public. One of them is the young Russian painter Irina Gornostaeva:

http://gornostaeva.ru/en/gallery/

I am impressed by the radiant energy of her works, and by her rigorous academic training.

The realist school hasn’t been too popular, but it’s picking up here in Russia.

Dan
Moscow, Russia