Origins of the Manifesto - Part One

Like most of the English language, the word manifesto did not come from our noble lands. No sir, in fact the phrase originates from the classical Latin word - Manifestus, meaning clear, public or notorious. (Well that's not surprising, pretty much every word we talk is derived from the "dead" language of Latin). 

Nonetheless, by the 17th century the word, manifestus, was adopted by the Italians to create, manifesto - meaning a statement of views or policies in the public eye.  

So as the years went by, the word became known around the world especially around England; 
British writers started to embrace the word and use it in diplomatic circumstances, as well as the world of Art and Design.  (Although, the world preferred the Latin way rather than the Italian adaptation).

So let's see how it affected our Art community... 
Over the next few days, I will present a variety of similar, yet diverse art movements, who were all inspired to create their own manifestos. 

First, we have Vorticism.
After disagreeing with the Omega Workshop founder, Rodger Fry and his roots in Cubism, Futurism and the Bloomsbury Group; Wyndham Lewis and others established a Rebel Art Centre. 
Lewis cast Vorticism as a sovereign alternative to Cubism, Futurism and Expressionism. In spite of this separation, the art movement was not far from the Futurism movement: in the way of capturing the motion in a painted picture, with solid lines and harsh colours.


                                  


                                           

The movement is quite intense with the Merry-Go-Round picture, and notice how both of the paintings draw your eyes to it's centre. 

Vortists Manifesto:

During the course of 1914 and 1915, Wyndham Lewis was working on a literary magazine called 'Blast'. Containing the work of Ezra Pound, T.S.Eliot, as well as members of the vorticism movement.

The magazine entails a set of lists, of things which essentially the vortists love and hate - Bless and Blast. The quarterly is described to be typographically adventurous, thanks to the work of El Lissitzky - a forerunner and revolutionist in graphic designs, during the period 1920-1930.

Blast, was a short- lived magazine due to the effects of World War One. The magazine was published twice - the first had a bright, pink cover and was referred to as "Great MAGENTA Cover'd Opusculus" by Ezra Pound. The second, was published a year later. 

This piece was recognised as a seminal text of pre-war 20th century modernism.