Vortisizm
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Vortisizm 1914-yilda yozuvchi va rassom Vindham Lyuis tomonidan tashkil etilgan Londonda joylashgan modernistik sanʼat harakati edi. Harakat qisman kubizmdan ilhomlangan va Blast jurnalida Vorticist manifestini nashr etish orqali ommaga tanishtirilgan. Tasviriy sanʼatning tanish shakllari qatʼiy abstraksiyaga moyil boʻlgan geometrik uslub foydasiga rad etildi. Lyuis oʻzining turli xil avangard rassomlari guruhining isteʼdodlaridan foydalana olmasligini isbotladi[1].
Vortisist rasmlari „zamonaviy hayot“ ga diqqatni qaratgan qalin chiziqlar va qoʻpol ranglar majmuasi sifatida tomoshabinning koʻzini tuval markaziga qaratdi[2].
Vortisizmga kirish
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1913-yilning yozida Rojer Fray Dunkan Grant va Vanessa Bell bilan bohem Londonning markazida Fitzroviyada Omega ustaxonalarini tashkil etdi. Fry tobora mavhum sanʼat va dizayn amaliyotining tarafdori edi va studiya, galereya, chakana savdo doʻkoni unga Wyndham Lyuis, Frederik Etchells, Cuthbert Hamilton va Edvard Wadsworth kabi rassomlarni ushbu yondashuvga xayrixoh boʻlish va qoʻllab-quvvatlashga imkon berdi. Lyuis oʻtgan yili Ittifoq rassomlari salonida Kermesse[3] hozirda yoʻqolgan ulkan deyarli mavhum asari bilan taʼsir oʻtkazgan.
Lyuis va uning Omega ustaxonasidagi hamkasblari Etchells, Hamilton va Wadsworth yil oxirida Brightonda Epshteyn va Devid Bomberg bilan birgalikda koʻrgazmada ishtirok etishdi[4]. Lyuis koʻrgazmaning „Kubist xonasi“ ni boshqargan va yozma kirish soʻzini taqdim etgan, unda u koʻrgazmadagi mavhumlikning turli yoʻnalishlarini birlashtirishga harakat qilgan[5].
Qoʻzgʻolonchi rassomlar
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Rojer Fray bilan janjal Lyuisga Omega ustaxonalarini tark etish va raqib tashkilot tuzish uchun bahona berdi[6]. Lyuisning rassom doʻsti Kate Lechmere tomonidan moliyalashtirilgan Rebel Art Center 1914 yil mart oyida Great Ormond Street 38da tashkil etilgan[7]. Bu Lyuis davrasining sanʼati va gʻoyalari uchun platforma boʻlishi kerak edi va maʼruzalar turkumiga Lyuisning doʻsti shoir Ezra Paund, yozuvchi Ford Madoks Xyufer va italiyalik „futurist“ Filippo Tommaso Marinettining nutqlari kiradi. Marinetti 1910-yildan beri Londonda tanish va provokatsion ishtirokchi boʻlgan va Lyuis uning „Futuristik“ manifestiga asoslangan badiiy harakatni yaratganini koʻrgan[8].
Marinetti va ingliz futuristi CRW Nevinson „Ingliz tilining hayotiy sanʼati“ manifestini[9] eʼlon qilganida, isyonchi sanʼat markaziga manzil sifatida murojaat qilganida, bu hokimiyatni egallashga urinishdek tuyuldi. Bir necha hafta oʻtgach, Lyuis "Tomoshabinlar" da eʼlon olib, „Vortisistlar manifestini“ nashr etishni eʼlon qildi[10].
Vortizmni ixtiro qilish
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Ezra Paund 1914-yilning boshida modernistik sheʼriyat va sanʼatga nisbatan „girdob“ tushunchasini kiritgan edi[11]. Masalan, Londonni intellektual va badiiy faoliyatning „girdobi“ sifatida koʻrish mumkin. Biroq, Pound uchun aniqroq — agar noaniq boʻlsa — maʼnosi bor edi: "(girdob) siklondagi energiya kosmosga kirib, unga shakl beradigan nuqta … tomonidan shakllanadigan burchaklar va geometrik chiziqlar naqshlari[12]. Lyuis „Vortisizm“ ning potentsialini hayajonli yigʻilish chaqirigʻi sifatida koʻrdi.
Lyuisning Vortisist manifesti yangi adabiy va sanʼat jurnalida nashr etilishi kerak edi, BLAST — kinoya bilan, jurnalning nomi „Vital English Art“ manifestidan beri persona non grata boʻlgan Nevinson tomonidan taklif qilingan edi. Fransuz haykaltaroshi, rassomi va anarxisti Anri Gaudier-Brzeska 1913-yil iyul oyida Ezra Pound bilan uchrashdi[13] va ularning „Yangi haykal“[14] haqidagi gʻoyalari Vortisist haykaltaroshlik nazariyasiga aylandi. Bu Lyuisning keyinchalik kuchli rangdan foydalanishiga taʼsir qilgan boʻlishi mumkin[15].
Qalin, mos kelmaydigan ranglar kombinatsiyasidan foydalanadigan yana bir kelajakdagi „ingliz kubisti“ Uilyam Roberts edi[16].
PORTLASH
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BLAST 1914-yil 15-iyulda Londonning Sent-Jeyms hududidagi Dieudonné mehmonxonasida „to‘polon bayramona kechki ovqat“da[17] ishga tushirildi[18]. Jurnal asosan Lyuisning ishi boʻlgan, ammo Ford Madox Hueffer va Rebekka West tomonidan yozilgan keng qamrovli parchalar, shuningdek, Pound sheʼriyati, Gaudier-Brzeska va Wadsworth maqolalari va Lyuis, Wadsworth, Etchells, Roberts rasmlarining reproduktsiyalarini oʻz ichiga olgan[19]. Koʻrinishidan, manifest oʻn bir imzolovchi tomonidan „imzolangan“. [20] Lyuis, Pound va Gaudier-Brzeska loyihaning intellektual markazida edi, ammo Robertsning keyingi sharhlari shuni koʻrsatadiki, guruhning koʻpchiligi nashrdan oldin manifestning mazmuni haqida xabardor boʻlmagan[21][22].
Vortistlar koʻrgazmasi
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BLASTning nashr etilishi bundan ham yomon vaqtga toʻgʻri kelmasdi, chunki 1914-yil avgust oyida Britaniya Germaniyaga urush eʼlon qildi. Ushbu milliy va xalqaro inqiroz davrida avangard sanʼatiga talab kam boʻlar edi. Biroq, keyingi yili Nyu Bond koʻchasidagi Dore galereyasida „Vortisistlar koʻrgazmasi“ boʻlib oʻtdi[23]. Dismorr, Etchells, Gaudier-Brzeska, Lyuis[24], Roberts[25], Sonders[26] va Wadsworthning qirq toʻqqizta „Vortisist“ asari qattiq qirrali, oʻta rangli, deyarli mavhum ishlarga sodiqligini koʻrsatdi[27].
Lyuis katalogdagi soʻzboshisiga oydinlik kiritilishicha, „Vortisizm deganda biz faoliyatni Pikassoning didli passivitiligidan farqli oʻlaroq, tabiatshunos hukm qilingan zerikarli anekdot xarakteridan farqli oʻlaroq muhimlikni nazarda tutamiz.“ taqlid kinematografiyasiga, futuristlarning shov-shuv va isterikasiga qarshi edi[28]. Koʻrgazma matbuot tomonidan eʼtiborga olinmadi va paydo boʻlgan sharhlar dahshatli edi[29].
BLAST: urush raqami
[tahrir | manbasini tahrirlash]Koʻrgazma ochilishi arafasida Gaudier-Bjeskaning Fransiyadagi xandaqlarda oʻlimi haqidagi xabar Londonga etib keldi[30]. BLASTning ikkinchi sonidagi „Omma uchun xabarnoma“ nashrning „asosan urush tufayli“ va „muharrirning paydo bo‘lishi kerak bo‘lgan vaqtda va undan oldin kasal bo‘lganligi sababli“ kechiktirilganini tushuntird[31].
Lyuisning ritorikasi bu safar ancha ehtiyotkor boʻldi — oʻquvchilar tomonidan vatanparvar sifatida koʻrinmaslikka harakat qildi. Tushunarli, u Vortisizm va BLAST kelajagiga nisbatan optimistik ohangni urishga harakat qildi. Ammo, bir yil ichida rassomlarning koʻpchiligi qurolli kuchlar safiga qoʻshildi yoki koʻngilli boʻldi: Lyuis — Qirollik Garnizon artilleriyasi; Roberts — Qirollik dala artilleriyasi; Wadsworth — Britaniya dengiz razvedkasi; Bomberg — Qirollik muhandislari; Dismorr — ixtiyoriy havo otryadi; va Sonders — hukumat idorasi ishini tanladi[32].
Pingvin klubidagi vortisistlar
[tahrir | manbasini tahrirlash]Ezra Pound 1915-yildan beri Nyu-Yorkdagi muvaffaqiyatli advokat va sanʼat kolleksiyachisi Jon Quinn bilan Wyndham Lyuisning ishini qoʻllab-quvvatlagan[33]. Pound tavsiyalariga tayangan holda, Nyu-Yorkdagi Vortisistlar koʻrgazmasi Lyuisning qirq oltiga yaqin asari — baʼzilari allaqachon Quinn kollektsiyasida — Etchells, Roberts, Dismorr, Saunders va Wadsworthning qoʻshimcha ishlari bilan qurilgan. Koʻrgazma Nyu-Yorkdagi „Pingvinlar klubi“ rassom tomonidan boshqariladigan muassasada boʻlishi kerak edi[34]. Pound asarlarni Atlantika okeani boʻylab tashishni tashkil qildi va Quinn butun koʻrgazma xarajatlarini oʻz zimmasiga oldi[35][36].
Urush sanʼatkorlari
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Qo‘zg‘olonchi sanʼatkorlarning faol xizmatda bo‘lganlarida ijodiy faoliyat ko‘rsatishi uchun deyarli imkon yo‘q edi[37]. Biroq, Uodsvort kutilmaganda ikki mingdan ortiq kemalarga, asosan Bristol va Liverpulda qoʻllaniladigan koʻzni qamashtiruvchi kamuflyajni nazorat qilish orqali oʻzining badiiy qiziqishlarini amalga oshirishga muvaffaq boʻldi[38].
Urush oxirida jurnalist Pol Konodi, hozirda Kanadadagi urush yodgorliklari jamgʻarmasining badiiy maslahatchisi (va ochiqdan-ochiq vortisizmga qarshi boʻlgan kishi) Lyuis, Uodsvort, Nevinson, Bomberg, Roberts, Pol Nesh va Bombergga monumental asarlar yaratishni topshirdi. Ottavadagi memorial zali uchun Kanada urushi tajribasiga oid mavzularda rasmlar. Rassomlar faqat „vakillik“ ishi qabul qilinishi mumkinligi haqida ogohlantirildi va haqiqatan ham Bombergning " Sappers at Work " asarining birinchi versiyasi[39] „juda kubist“ deb rad etildi[40].
X guruhi
[tahrir | manbasini tahrirlash]Urushdan keyingi yillarda rassomlar uchun homiylik olish va sotishni taʼminlash qiyin edi. Shunga qaramay, Lyuis, Uodsvort, Roberts va Atkinson 1920-yillarning boshlarida bir kishilik spektakllarga ega edilar — har bir rassom modernizm va potentsial koʻproq taniqli mavzular oʻrtasida oʻz yoʻlini bosib oʻtdi[41]. Lyuis 1920-yilda Mansard galereyasida " Guruh X " bayrogʻi ostida oʻnta rassomni birlashtirgan yana bitta guruh namoyishini tashkil qildi[42]. Biroq, Lyuisning fikricha, „soʻnggi oʻn yil ichida rassomlar tomonidan butun Yevropada oʻtkazilgan eksperimentlar …. osonlikcha tark etilmasligi kerak“ degan fikrdan tashqari, rassomlarning hissalarini birlashtirishga urinishlar kam edi[43]. Koʻrgazmadagi uslublarning xilma-xilligi, masalan, Lyuisning toʻrtta avtoportretini oʻz ichiga olgan boʻlsa, Roberts oʻzining rivojlanayotgan „kubist“ uslubidagi toʻrtta radikal asarini namoyish etdi[44]. Koʻrgazma asosan „sarguzasht alangasini qayta yoqish“ uchun muvaffaqiyatsizlik sifatida koʻrildi[45].
Meros
[tahrir | manbasini tahrirlash]Urushning buzilishi va rassomlarning keyingi safarbarligi Vortisistlarning koʻplab yirik rasmlari yoʻqolgan vaziyatga yordam berdi. Brigid Peppin tomonidan yozib olingan latifada Xelen Sondersning singlisi oʻzining polni qoplash uchun Vortisist moyidan qanday foydalangani va „vayron boʻlgan“[46] — bu rasmlarning qadrlanmaganining ekstremal misoli[47]. 1974-yilda yozgan Richard Kork „1915-yilgi Vortisistlar koʻrgazmasida harakatning toʻliq aʼzolari tomonidan namoyish etilgan qirq toʻqqizta asardan oʻttiz sakkiztasi hozirda yoʻqolgan“ deb taʼkidladi[48].
Manbalar
[tahrir | manbasini tahrirlash]- ↑ For a full account of Vorticism see the introductory essay by Richard Cork in the exhibition catalogue Vorticism and Its Allies (London: Arts Council of Great Britain, 1974), pp. 5-26. A recent and concise definition is available at the Tateʼs website: https://www.tate.org.uk/art/art-terms/v/vorticism.
- ↑ As opposed to sculpting in wax to produce casts or using mechanised tools to 'translate clay into marbleʼ. Mark Antliff, 'Sculpural Nominalism/Anarchist Vortex: Henri Gaudier-Brzeska, Dora Marsden and Ezra Pound', in Mark Antliff and Vivien Greene (eds.), The Vorticists: Manifesto for a Modern World (London: Tate Publishing, 2010), p. 52.
- ↑ Clive Bell in The Athenaeum of 27 July 1912 explained that, in order to appreciate this work, visitors 'having shed all irrelevant prejudices in favour of representation will be able to contemplate it as a piece of pure designʼ.
- ↑ ‘The Camden Town Group: An Exhibition of the Work of English Post-Impressionists, Cubists and Others’, Public Art Galleries, Brighton, December 1913-January 1914.
- ↑ Quoted by Cork, Vorticism and Its Allies, p. 12.
- ↑ Karin Orchard, '"A Laugh Like a Bomb": The History and Ideas of the Vorticists', in Paul Edwards (ed.), Blast: Vorticism 1914-1918 (Aldershot: Ashgate, 2000), p. 15.
- ↑ Cork, Vorticism and Its Allies, p. 17.
- ↑ Cork, Vorticism and Its Allies, p. 20.
- ↑ The Observer, 7 June 1914.
- ↑ The Spectator, 13 June 1914.
- ↑ Initially in correspondence in late 1913 and then in an informal talk at the Rebel Art Centre in April 1914 (Philip Rylands, 'Introductionʼ, in Antliff & Greene (eds.), The Vorticists, p. 25, n. 33).
- ↑ Ezra Pound in a 1915 interview for the Russian journal Strelets, quoted in Rylands, 'Introductionʼ, p. 23.
- ↑ Mark Antliff, 'Sculptural Nominalism/Anarchist Vortex', in Antliff & Greene (eds.), The Vorticists, p. 47.
- ↑ Published in The Egoist, 16 February 1914, pp. 67-8, and 16 March 1914, pp. 117-18.
- ↑ Brigid Peppin, 'Women That a Movement Forgotʼ, Tate, Etc. 22 (summer 2011), p. 35.
- ↑ William Roberts, Some Early Abstract and Cubist Work 1913-1920 (London, 1957), p. 9. Reproductions of these paintings were included in the first issue of BLAST.
- ↑ Cork, Vorticism and Its Allies, p. 21.
- ↑ The Dieudonné (the 'God-Givenʼ) was a French-run hotel at 9-11 Ryder Street (now part of Christieʼs building in King Street). It closed later in 1914. In William Roberts’s large painting from 1961-2 The Vorticists at the Restaurant de la Tour Eiffel, Spring 1915, Roberts represents the BLAST launch as being at the Restaurant de la Tour Eiffel in Percy Street, Fitzrovia. Richard Cork clarifies that the painting is an 'imaginative evocationʼ of the event 'rather than a historically accurate record … . [however] the Tour Eiffel’s genial proprietor, Rudolphe Stulik, was always lavish with his hospitality towards the Vorticists; and Roberts … . testified that „in my memory la cuisine Française and Vorticism are indissolubly linked“' — Cork, Vorticism and Its Allies, pp. 106-7.
- ↑ BLAST can be viewed online from many sources, including https://library.brown.edu/pdfs/1143209523824858.pdf.
- ↑ Under 'Signatures for Manifestoʻ on page 43 of BLAST No.1 were listed 'R. Aldingtonʼ, 'Arbuthnotʼ, 'L. Atkinsonʼ, 'Gaudier Brzeskaʼ, 'J. Dismorr', 'C. Hamiltonʼ, 'E. Pound', 'W. Roberts', 'H. Sanders' (sic), 'E. Wadsworth' and 'Wyndham Lewis'.
- ↑ Roberts, Some Early Abstract and Cubist Work, p. 9.
- ↑ Cork, Vorticism and Its Allies, p. 24.
- ↑ Opened 10 June 1915.
- ↑ One of the few surviving paintings from this exhibition is Wyndham Lewis’s Workshop c.1914-15 in the Tate collection.
- ↑ Study for William Roberts’s Two Step.
- ↑ Helen Saunders, c.1915 Vorticist Design in the Tate collection.
- ↑ Those listed as having been ‘invited to show’ were Bernard Adeney, Lawrence Atkinson, Bomberg, Duncan Grant, Jacob Kramer and Nevinson (labelled ‘Futuristʼ).
- ↑ Cork, Vorticism and Its Allies, p.25
- ↑ 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.’
- ↑ Gaudier-Brzeska had enlisted in the French army — the Regimente d’Infanterie 129e — and was killed in the trenches of Neuville Saint-Vaast on 5 June 1915.
- ↑ BLAST: War Number, published July 1915, p. 7.
- ↑ Jonathan Black, ‘Taking Heaven by Violenceʼ, in Jonathan Black (ed.), Blasting the Future!: Vorticism in Britain 1910-1920 (London: Philip Wilson, 2004), p. 35, and Peppin, ‘Women That a Movement Forgotʼ, p. 32.
- ↑ Vivien Greene, ‘Ezra Pound and John Quinn: The 1917 Penguin Club Exhibitionʼ, in Antliff & Greene (eds.), The Vorticists, p.76.
- ↑ 8 East 15th Street, New York City.
- ↑ Greene, ‘Ezra Pound and John Quinnʼ, pp. 78, 81.
- ↑ Greene, ‘Ezra Pound and John Quinnʼ, p. 81.
- ↑ See William Roberts, Memories of the War to End War 1914-18 (London, 1974) for an account of life on the front line and the commissioning processes for war artists.
- ↑ Richard Cork, ‘Wadsworth and the Woodcutʼ, in Jeremy Lewison (ed.), A Genius of Industrial England: Edward Wadsworth 1889-1949 (Bradford: Arkwright Arts Trust, 1990), p. 20.
- ↑ The rejected Sappers at Work study is in the Tate Collection.
- ↑ See David Cleall, 'The First German Gas Attack at Ypres', in William Roberts Society Newsletter, October 2014.
- ↑ Wadsworth — Adelphi Gallery, March 1919; Lewis — 'Guns', Goupil Gallery, February 1919; Roberts — Chenil Gallery, November 1923; and Atkinson — 'Abstract Sculpture and Paintingʻ, Eldar Gallery, May 1921.
- ↑ Group X exhibited at the Mansard Gallery in Heal’s & Son, Tottenham Court Road, London, from 26 March to 24 April 1920.
- ↑ Wyndham Lewis, 'Introductionʼ, in Group X exhibition catalogue, 1920.
- ↑ Athletes Exercising in a Gymnasium, The Wedding, The Auction Room and The Cockneys — see 'William Roberts: Catalogue raisonné' available at http://www.englishcubist.co.uk/catchron.html.
- ↑ Andrew Gibbon Williams, William Roberts: An English Cubist (Aldershot: Lund Humphries, 2004), pp. 52-5.
- ↑ Peppin, 'Women That a Movement Forgotʼ, p. 32.
- ↑ Greene, 'Ezra Pound and John Quinnʼ, p. 81.
- ↑ Cork, Vorticism and Its Allies, p. 26.
Maʼlumotnomalar
[tahrir | manbasini tahrirlash]- Antkliff, Mark va Grin, Vivien (tahrirlar.), Vortisistlar: Zamonaviy dunyo uchun manifest (London: Teyt nashriyoti, 2010)
- Blek, Jonatan (tahrir.), Kelajakni portlatish!: Britaniyada 1910-1920 yillardagi vortisizm (London: Filipp Uilson, 2004)
- Kork, Richard, Birinchi mashinalar davridagi vortisizm va mavhum sanʼat (ikki jild) (London: Gordon Freyzer galereyasi va Berkli: Kaliforniya universiteti matbuoti, 1976)
- Kork, Richard, Vortisizm va uning ittifoqchilari (London: Buyuk Britaniya sanʼat kengashi, 1974)
- Xeykok, Devid Boyd, yorqinlik inqirozi: beshta yosh britaniyalik rassomlar va Buyuk urush . (London: Old Street Publishing, 2009)
- Pound, Ezra., „Vortisizm“, ikki haftalik sharhda 96, №. 573 (1914), bet. 461-71
Havolalar
[tahrir | manbasini tahrirlash]- Ezra Poundning 1914 yildagi „Vortisizm“ inshosi "
- Ezra Pound, vortisizm
- Milliy portret galereyasida Wyndham Lewis portretlari koʻrgazmasi, London, 2008 yil 3 iyul — 19 oktyabr
- Teyt lugʻati
- Professor Endryu Tekerning Tate Britaindagi 2011 yilgi Vortisizm koʻrgazmasining sharhi .
- Ingliz kubisti: Uilyam Roberts 1895-1980