La scultura contro lo Stato. Henri Gaudier-Brzeska, Dora Marsden ed Ezra Pound
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Mark Antliff [1]
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[1] Duke University
Duke University
Township of Durham, Estados Unidos
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- Localización: Memoria e ricerca, ISSN 1127-0195, ISSN-e 1972-523X, Nº 33 (gennaio-aprile), 2010 (Ejemplar dedicado a: Artisti e partiti : estetica e politica in Europa (1900-1945)), págs. 49-62
- Idioma: italiano
- Títulos paralelos:
- Sculpture against the State. Gaudier Brzeska, Dora Marsden, Ezra Pound
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Resumen
The relationship of the American poet Ezra Pound (1885-1972) and French sculptor Henri Gaudier-Brzeska (1891-1915) is widely acknowledged to be central to the history of Vorticism (1914-1917), a British avant-garde movement that first introduced the English public to radical abstraction, yet the political dimension of that relationship remains to be understood. I argue that Pound’s involvement in anarchist circles served to reinforce Gaudier’s own long-time allegiance to that ideology, all of which had a major impact on Gaudier’s Vorticist aesthetics. My article considers three interrelated themes: the convergence of anarchism and primitivism in the art criticism of Pound and Gaudier published in the anarcho-individualist journals The New Freewoman (1913) and The Egoist (1914-1919); the impact of Dora Marsden’s theory of anarchist nominalism on Gaudier and Pound; and the implications of these ideological precepts for Gaudier’s sculptural praxis, exemplified by such works as the iconic Hieractic Head of Ezra Pound (1914)
