Mantex

Tutorials, Study Guides & More

  • HOME
  • REVIEWS
  • TUTORIALS
  • HOW-TO
  • CONTACT
>> Home / Biography

Biography

writers, artists, designers, and bohemians

writers, artists, designers, and bohemians

writers, artists, designers, and bohemians

Virginia Woolf an introduction

October 7, 2011 by Roy Johnson

a sketch of her life – an appreciation of the novels

Virginia Woolf An Introduction is yet another study that combines a biography with comments on her major writing. There have been several biographies of Virginia Woolf in the last few decades. John Lehmann’s illustrated memoir is still very popular. Quentin Bell’s official biography is detailed and scholarly but in common with other accounts by Bloomsbury insiders (he was her nephew) it contains sins of omission to protect relatives and friends. Lyndall Gordon’s A Writer’s Life bases much of its account of Woolf’s life on her fiction, supposing much of it to be thinly veiled autobiography. The weaknesses in these productions mean that Hermione Lee’s more serious recent study is now regarded as the ‘standard’ biography.

Virginia Woolf an introductionSo what does a new account by Alexandra Harris have to offer – published as it is very quickly on the heels of her award-winning Romantc Moderns? Well – it turns out not to be a biography in the conventional sense, but an introduction to Woolf and her work in general, compiled from readings of her novels, diaries, and letters, strung together in a chronological sequence.

The first few chapters deal with life in the Stephen household at Hyde Park Gate and Talland House, but once Woolf starts writing it is the prodigious flow of her creative work which forms the spine of the narrative – from her first book reviews and the early major task of The Voyage Out through to the last flourish of Between the Acts.

For readers new to Woolf it performs the useful function of emphasising the amazing scope of her work – for she was expressive and accomplished in all the literary genres with which she engaged. Her diaries are as interesting as Kafka’s; she excelled in the novel; her short stories are amongst the most advanced experiments in modern literature (with the possible exception of some by Nadine Gordimer); her essays and literary criticism will stand comparison with the work of any professional literary critic; and even her letters are worth reading – though she tends to recycle the same anecdotes to multiple correspondents.

As an introduction to Woolf’s major novels, it’s very successful. Harris’s impassioned account of Orlando is guaranteed to make anyone who has not read the novel dash out and buy it immediately. But at times she becomes so caught up with giving an account of the novels that her commentary becomes an act of interpretation. She switches from biography to literary criticism.

One minute for instance she might be dealing with well known details of the biography, and then at the merest mention of the book Woolf is currently writing, the narrative slides off into plot summary and a discussion of its characters as if they inhabited the same world. This will probably seem very attractive to general readers, encouraging them to engage with the fiction. But it’s likely to irritate any serious Woolf enthusiasts.

The pace is not always even. There are occasional lurches forward in chronology which are quite disconcerting. Whilst discussing the early writing in 1910, she suddenly invokes Rhoda in The Waves, which wasn’t written until twenty-one years later.

Quite surprisingly, there is very little about the lifestyle bohemianism of the Bloomsbury Group, even when it is directly relevant. Her descriptions of Virginia’s relationship with Leonard Woolf give the impression of a blissfully idyllic marriage. You wouldn’t guess from her account that it was virtually a mariage blanc. All the rich gossip and fruity anecdotes are available elsewhere of course, but the picture of Bloomsbury life that comes across is distinctly pasteurised.

One of the most interesting chapters is her last, in which she traces the development of Woolf’s posthumous reputation. Leonard Woolf, acting as executor and publisher at the Hogarth Press, slowly released the letters, diaries, and essays (only recently completed) in well edited scholarly editions. And as he did so, Woolf’s critical stock rose accordingly to the point where she is now regarded as one of the great modernists of the early twentieth century.

Romantic Moderns Buy the book at Amazon UK

Romantic Moderns Buy the book at Amazon US

© Roy Johnson 2011


Alexandra Harris, Virginia Woolf, London: Thames and Hudson, 2011, pp., ISBN: 0500515921


More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group


Filed Under: Biography, Virginia Woolf Tagged With: Biography, Literary studies, Modernism, Virginia Woolf

Virginia Woolf biography

December 2, 2011 by Roy Johnson

a short critical study of her life and works

The life of Virginia Woolf’s is now quite well known in its main details. Quentin Bell (her nephew) produced the definitive factual biography, and there have been interpretive studies by Lyndall Gordon, John Lehmann, Alexandra Harris, and Hermione Lee amongst others. There’s plenty of scope for writing about her life because Woolf wrote so much about herself – in letters, essays, diaries, and notebooks. She was, as Elizabeth Wright claims in this new study, possibly the most self-documented writer of the twentieth century.

Virginia Woolf biographyWright herself adopts a generally chronological account of the life and the works, She traces Woolf’s early upbringing in Kensington where she and her siblings produced the very amusing satirical newspaper Hyde Park Gate News. On the death of her mother at only forty-eight. Woolf experienced the first of her many mental breakdowns This was followed by the death of her half-sister Stella Duckworth, both of which events resulted in her father Leslie Stephen becoming more and more emotionally dependent on her and her elder sister Vanessa.

When her father died she became an object of attentions for her half-brother George Duckworth – attentions which are now the source of much controversy. She found escape and self-expression in reading and writing, and in 1905 moved with Vanessa and her brother Thoby to 46 Gordon Square. This marked a completely new phase in her life, and she celebrated the beginnings of her independence by earning money as a reviewer for the Manchester Guardian and the Times Literary Supplement.

Once established in Bloomsbury, this was also the period of throwing off Victorian taboos – staying up late with friends discussing ideas, smoking cigarettes, using people’s first names, and even talking openly about sex. The young intellectuals who joined them for these discussions eventually became known as the Bloomsbury Group

When her sister married Clive Bell, Virginia moved with her brother Adrian to Tavistock and then Brunswick Square, and they took into their commune figures such as Leonard Woolf, John Maynard Keynes, and the painter Duncan Grant. She began work on her first novel, Melymbrosia (later to become The Voyage Out and in 1912 married her house-mate Leonard Woolf – a union that Wright tactfully describes as ‘a marriage of minds rather than bodies’.

Like most of her Bloomsbury friends Virginia was opposed the First World War: she thought patriotism a ‘base emotion’. She and Leonard bought a second-hand printing press and launched the Hogarth Press as a sort of therapeutic hobby for her. But it turned out to be a great commercial success, largely because of Leonard’s good business sense and artistic judgement. More importantly, it freed Virginia from the editorial control of commercial publishers. She could write fiction in any way she pleased, and from this point onwards her work appeared under their own imprint.

In 1921 she published her epoch-making collection of experimental short stories, Monday or Tuesday which gave her the impetus and the confidence to continue her experiments into the longer literary form of the novel with Jacob’s Room and Mrs Dalloway. Around this time she also began her love affair with fellow novelist Vita Sackville-West, which although it was short-lived gave rise to the delightful fantasy biography, Orlando.

The thirties were a period of increased fame and prosperity, tarnished only by spiteful critical attacks from the likes of Wyndham Lewis, Frank Swinnerton, and the Leavises. There was one further push in experimental modernism still to come: The Waves was her attempt to combine prose, poetry, and drama.

She turned down an invitation to deliver the Clark Lectures at Trinity College Cambridge (which her father had given in 1888) and instead directed what she had to say about these institutions of male privilege and class power into Three Guineas (1938). This was the logical development of her arguments in A Room of One’s Own and the two works now form the foundation of most modern branches of feminism.

It was certainly a productive decade. In addition to her steady stream of reviews and journalism, she produced a major critical study The Common Reader: Second Series, a long novel The Years, a play Freshwater, and even Flush, a playful biography of Elizabeth Barrett Browning’s pet dog.

By the end of the decade there were less than two years left – yet despite her personal depressions and worries regarding the war, she continued writing and produced the ‘official’ biography of her friend Roger Fry (a thoroughly anodyne work) and left the much more spirited Between the Acts in proofs at her death.

The main strength of Elizabeth Wright’s short biography is that it strikes a good balance between the life and the works – and her account isn’t spoiled by any of the hysteria and gender bigotry which undermines so much critical commentary. After all, Virginia Woolf might have had psychological demons with which she struggled throughout her life, but she was also a prodigiously creative artist, an original analyst on some of life’s most fundamental issues, and a witty and popular figure amongst her friends.

  Buy the book at Amazon UK

  Buy the book at Amazon US

© Roy Johnson 2012


E.H.Wright, Brief Lives: Virginia Woolf, London: Hesperus Press, 2011, pp.144, ISBN: 1843919095


More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group


Filed Under: Biography, Virginia Woolf Tagged With: Biography, Cultural history, Literary studies, Virginia Woolf

Virginia Woolf illustrated biography

July 3, 2009 by Roy Johnson

an introduction to her life and work

This is a best-selling book from Thames and Hudson. It’s slim, cheap, and you might almost say a little old fashioned – yet it goes on being popular year after year. And it’s easy to see why. The text is written by John Lehmann who actually worked for Virginia Woolf and her husband Leonard at the Hogarth Press. Indeed, at one time he even wanted to take it over and run it on fully professional lines – something which Leonard quite rightly resisted, arguing that it’s strength lay in its independence. But the real delight the book offers is a wonderful collection of pictures of Woolf and her friends who were part of the Bloomsbury Group.

Virginia Woolf illustrated biographyMore than that, it combines a lightness of touch in presenting Woolf’s biography with a very engaging introduction to each of her major works. Lehmann follows the story of Woolf’s life and her social background – an upper-middle class milieu with artistic and literary connections (Henry James was a friend of the family) self-educated in her father Leslie Stephen’s library, falling in love with other women, and then the establishment of the Bloomsbury group in Gordon Square with her brother Thoby and his Cambridge friends John Maynard Keynes and Lytton Strachey.

She began her literary career, then married Leonard Woolf, who looked after her patiently through all her periods of mental and physical illness. As therapeutic activity, he even bought a printing machine which enabled them both to set up the Hogarth Press – which went on to become very successful.

Lehmann traces her literary development, from the conventional approach of The Voyage Out and Night and Day, to the artistic breakthroughs of Jacob’s Room and Mrs Dalloway, so his biography also provides and intelligent guide to her writing as well as her life.

Despite being a close personal friend of both Virginia and Leonard, he doesn’t shy away from the love-affair she had with Vita Sackville-West, linking it perceptively to his account of Orlando, which it inspired. Then his transition via A Room of One’s Own to The Waves traces her intellectual development as both a feminist and a novelist. His account of The Waves will help anyone who needs preparation for an attempt at what is quite a difficult novel.

Lehmann, rather like Leonard Woolf, thinks Three Guineas is not one of her best non-fiction works – an opinion I don’t think many people would agree with today. But the remainder of his explications and judgements are really helpful for anybody who wants to understand her work.

However, the real delight of the book is the photographs which range from her early through to her late life. They include portrait paintings, sketches made by artists such as Roger Fry and her sister Vanessa Bell, book jacket designs, and pictures of the houses where she lived and wrote.

© Roy Johnson 2000

Virginia Woolf illustrated biography Buy the book at Amazon UK

Virginia Woolf illustrated biography Buy the book at Amazon US


John Lehmann, Virginia Woolf, London: Thames and Hudson, 1987, pp.128, ISBN 0500260265


More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group


Filed Under: Biography, Bloomsbury Group, Virginia Woolf Tagged With: Biography, Bloomsbury Group, Virginia Woolf

Vita: The Life of Vita Sackville-West

June 19, 2009 by Roy Johnson

best-selling author, horticulturalist, and lesbian

Vita Sackville-West is best known these days as the woman who had an affair with Virginia Woolf, and maybe also as the woman who ‘eloped’ with Violet Trefusis. She’s also famous for being one half of a doubly bisexual relationship with her husband Harold Nicolson – recorded by their son in Portrait of a Marriage. What’s not so well known is the fact that she was also a best-selling author, and that in the post-1940 era she made herself a doyenne of writing on the English garden.

Vita: The Life of Vita Sackville-WestThe first part of Victoria Glendenning’s account of Vita’s life is dominated by her equally unconventional parents, both of whom maintained barely-concealed love affairs. Sackville-West pére moved his lover and her own husband into the family home at Knowle. Mrs Sackville-West seemed to have kept her 25 stone admirer Sir John Scott more at arm’s length, but sufficiently close that she inherited from him a large capital sum, houses, and a Paris flat full of antique furniture.

Vita’s youth was a mixture of foreign travel (and languages) romantic crushes on the Renaissance, and life at the top of the social ladder. Many readers will be surprised by one thing for sure – her enormous application and productivity where writing was concerned. Youthful novels poured from her, plus poems and plays, some written in languages other than English.

Her Sapphism began early, with both Rosamund Grosvenor and Violet Keppel, though she finally did the expected thing and married Harold Nicolson. They quickly produced two children, who were housed in a separate building at their first home in Long Barn.

When Harold Nicolson announced that he had veneral disease, she switched her attentions back to Violet Keppel. Vita dressed in men’s clothing as ‘Julian’ and they booked into hotels together as man and wife. Wot larks!

But when Violet married Denys Trefusis, things started to go wrong. For a start, Vita was jealous, and forbad Violet to have sex with her new husband. She even intercepted Violet on her honeymoon, took her to a hotel, and had sex with her to make the point. The two women eventually eloped to France and were only brought back home when their husbands flew out in a small plane to stop them, and the affair then gradually fizzled out.

Only to be replaced by one with the architect Geoffrey Scott. She shared these problems with her mother, who was meanwhile having an affair with another archtiect, Edwin Lutyens. There were also trips to Persia to visit husband Harold who was posted there – at the same time as he was also visited by his lover Raymond Mortimer.

Her well-known love affair with Virginia Woolf appears to be a sincere enthusiasm on both their parts, but when Virginia shied away from making their relationship a full-blown adventure (a la Violet Trefusis) Vita turned her attentions to Mary Hutchinson, the wife of South African poet Roy Campbell. Meanwhile, she won the Hawthornden prize for her long poem The Land.

She followed that up with best-selling novels The Edwardians and All Passion Spent, bought a near-ruined castle in Kent, and set up her husband with his own flat in London.

There were many other lovers, but then gradually, following the death of her mother in 1936, she started to become something of a recluse. She poured her creative energy into the development of Sissinghurst and its now-famous gardens.

She and Harold continued to live separately, take holidays separately, and wrote to each other every day saying how much they missed each other. Sissinghurst survived the war, and she continued writing in a number of genres, but gradually, as she got older, she focussed all her attention on horticulture and became quite well known as the gardening correspondent of The Observer.

However, it would be a mistake to imagine that her physically demanding nature was curbed in any way. As Gelendenning observes, a propos one of her later passions:

Vita was never without love or the physical expression of love. Her great adventure was never over.

In all this tale, you need to be able to stomarch enormous amounts of upper-class snobbery, vanity, and pure greed. In her own family, there were two major law suits involving contested wills and claims to inheritance. And you also need to be reasonably tolerant to the biographer.

Because despite its having the appearance of a scholarly piece of work, Gelendenning’s method is quite amateurish. Passages from other texts are quoted for their shock value to pad out the drama almost like a stream of consciousness, without giving any indication of their sources. She doesn’t stoop to anything as demanding as page references, and she mixes scenes from West’s fiction with historical fact as if they both had the same value and status.

Despite these technical shortcomings however, this is something of a page-turner. In addition to sometimes reading like an Evelyn Waugh novel, the quasi-aristocratic-cum-bohemian lifestyle is so astonishing that it’s bound to be of interest to us lesser mortals. As Glendenning says of Vita’s own mother: “physical fidelity was not greatly valued in the marriages of the British upper classes”.

© Roy Johnson 2000

Buy the book at Amazon UK

Buy the book at Amazon US


Victoria Glendenning, Vita: The Life of Vita Sackville-West, London:Weidenfeld and Nicolson, 1985, pp.430, ISBN 014007161X


More on the Bloomsbury Group
More on Vita Sackville-West
More on the novella
More on literary studies


Filed Under: Biography, Vita Sackville-West Tagged With: Biography, Bloomsbury Group, Literary studies, Vita Sackville-West, Vita: The Life of Vita Sackville-West

Vladimir Nabokov an illustrated life

June 20, 2009 by Roy Johnson

potted biography with charming photos and illustrations

This short biographical study offers an introduction to Nabokov’s amazingly varied yet consistent life, and his unrelenting devotion to creativity. It’s written by an expert, and presented in a very attractive manner with archive photographs on almost every page. Even though he came from a rich and privileged background, Nabokov’s life was one which was beset by the tragic events of the age in which he lived. His childhood was idyllic – well educated, and loved by both parents, he was taken to school in a chauffeur-driven Mercedes-Benz.

Vladimir Nabokov an illustrated lifeWhen he was only seventeen he inherited a mansion, a country estate, and a fortune . Within three years however he had lost it all in the revolution and he was forced to leave Russia, never to return. In the 1920s he painstakingly established a reputation for himself as a Russian novelist, writing in the first city of emigration, Berlin, and making a living by giving tennis lessons and setting chess problems and crossword puzzles for newspapers.

When the Nazis came to power he hung on as long as possible, but was eventually forced to move to the second choice for Russian emigres – Paris. He realised that he had lost forever the audience he had spent almost twenty years cultivating, and he started writing in French, knowing that he must start all over again.

Then, with only days to spare before the Germans occupied France in 1940 he escaped to the USA and began the entire process over again, writing in English and struggling to make a living by teaching literature in a girls’ college.

Once again he succeeded in adapting himself to his surroundings, but he felt unappreciated in a literary sense – until he threw down the gauntlet by publishing Lolita. This book changed his life.

He was able to give up teaching, and interestingly, for all his fondness for America, one of the first things he did was to return to Europe. He booked into the Palace Hotel in Montreux and lived there for the rest of his life.

Jane Grayson’s account of his life is interspersed with accounts of his major works – The Gift, Pale Fire, Laughter in the Dark, his stories, most of his other novels, and his translation of Pushkin’s Eugene Onegin, which caused such a scholarly controversy when it appeared. I was slightly surprised that she skirted round the over-indulgences of Ada, his last major work.

But it is the photographs and illustrations which make this book such a charming experience. The images of old Russian estates which inspired so much of his work are surrounded by sketches from his notebooks, book jacket designs from the first editions of his work, and photographs which you rarely see elsewhere.

© Roy Johnson 2004

Buy the book at Amazon UK

Buy the book at Amazon US


Jane Grayson, Vladimir Nabokov: an illustrated life, New York: Overlook Press, 2004, pp.146, ISBN 1585676098


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Biography, Vladimir Nabokov Tagged With: Biography, Literary studies, Vladimir Nabokov, Vladimir Nabokov: an illustrated life

Women, Marriage, and Art

July 15, 2012 by Roy Johnson

Mistress, Muse, Mrs, and Miss

Here’s a sample of recommended studies featuring women, marriage, and art. Women not as artists themselves so much as the wives, mistresses, and the muses who have inspired creation. Some have had the misfortune to partner with monsters of egoism, but others have been women brave enough to defy social norms and live successfully in an unconventional manner.

Alma Mahler - The Bride of the WindThe Bride of the Wind   [full review]
Alma Mahler was an aristocratic beauty from Vienna with an appetite for painters, musicians, and artists. Her first major lover was Gustav Klimt: (that’s her portrait in his famous painting The Kiss). She then went on to marry the composer Gustav Mahler, and when Mahler died she started an affair with the painter Oskar Kokoshka. Once again, she inspired one of his most-admired paintings, The Bride of the Wind. Kokoshka wanted to marry her, but she refused, saying “I only marry geniuses”. He went off to war and was wounded. Whilst he was convalescing, she married the architect Walter Gropius, who was also serving in the war. When he was summoned from military duty to the birth of their second child, he was disappointed to learn it was not his own, but that of her current lover, the writer Franz Werfel. She stuck with Werfel through the 1920s and 1930s, but when he died after the second world war, she didn’t even go to his funeral.
Women, Marriage, and Art The Life of Alma Mahler Buy the book at Amazon UK
Women, Marriage, and Art The Life of Alma Mahler Buy the book at Amazon US

Peggy Guggenheim: Mistress of ModernismMistress of Modernism   [full review]
Peggy Guggenheim was a rich American heiress – though she protested that she was from the ‘poorer side’ of the family. The first of her many husbands introduced her to the bohemian art world of post-war Paris in the 1920s, and from that point onwards she made a habit of collecting modern art (mainly surrealism) and turning her favourite painters into lovers and husbands. Her list of conquests is fairly extensive: Giorgio Joyce (son of James), Yves Tanguay, Roland Penrose, E.L.T.Mesens, Max Ernst, Marcel Duchamp, and even Samuel Beckett. She established the museum in Venice that now bears her name, and ended her days surrounded by gay assistants and being punted round the canals in her own private gondola.
Women, Marriage, and Art Peggy Guggenheim Buy the book at Amazon UK
Women, Marriage, and Art Peggy Guggenheim Buy the book at Amazon US

Vera: Mrs Vladimir Nabokov Vera: Mrs Vladimir Nabokov   [full review]
This is a fascinating biography of a woman who devoted the whole of her life to her husband’s literary production. Vera Slonim became Vladimir Nabokov’s secretary, his editor, proofreader, and literary agent, his driver, protector (she carried a revolver in her handbag) and sometimes she even delivered his lectures. She was just as imperious and aristocratic as he was, but gave herself up entirely to his ambitions. Nevertheless, after suspecting him of dalliance with a young American college girl, she took the precaution of attending all his classes to keep a watchful eye on him.
Women, Marriage, and Art Vera Nabokov Buy the book at Amazon UK
Women, Marriage, and Art Vera Nabokov Buy the book at Amazon US

Among the Bohemians Among the Bohemians   [full review]
The early part of the twentieth century was a period that gave rise to bohemianism in British life. People (and women in particular) kicked off the social restraints that were still hanging round as a shabby residue of the Victorian era. Most of the female figures Virginia Nicholson deals with in this study were artists and writers: Virginia Woolf and her sister Vanessa Bell, painters Dora Carrington (who lived with two men) Nina Hamnet and the illustrator Kathleen Hale (who was secretary and lover to Augustus John) and the society Lady Ottoline Morrell, who had affairs with both her gardener and Bertrand Russell amongst others. These women took up smoking, wore jumble sale clothes, drank to excess, tried drugs, and refused to do any housework. Very politically incorrect role models – but fascinating characters.
Women, Marriage, and Art Among the Bohemians Buy the book at Amazon UK
Women, Marriage, and Art Among the Bohemians Buy the book at Amazon US

Parallel Lives Parallel Lives   [full review]
This has become a classic study of four Victorian marriages. John Ruskin was an authority on art and beauty, but he is famous for never having consummated his marriage. What’s not so well known is that when his wife divorced him on these grounds, he offered to prove his virility in the courtroom. John Stuart Mill also had a marriage blanche – but on the principle that men ought to compensate women for the social injustices they suffered. George Eliot on the other hand defied conventions by living with a married man, then when he died married a man twenty years younger than herself. She meanwhile wrote some of the classics of nineteenth century English literature.
Women, Marriage, and Art Parallel Lives Buy the book at Amazon UK
Women, Marriage, and Art Parallel Lives Buy the book at Amazon US

Singled Out Singled Out   [full review]
By the time the first world war ended, more than three-quarters of a million young British servicemen had lost their lives. The single young women who had ‘kept the home fires burning’ and waited for them faced an alarming shortage of marriage prospects. And matrimony was the one escape from the shame of spinsterhood offered to women at that time. This searching original study by Virginia Nicolson (grand-daughter of the painter Vanessa Bell) tells the stories of women who were forced to invent careers for themselves. They became teachers, librarians, journalists, doctors, archeologists, members of parliament, and even in one case the curator of London Zoo. Some sacrificed emotional ties to further their careers; others invented new forms of friendships and intimacy.
Women, Marriage, and Art Singled Out Buy the book at Amazon UK
Women, Marriage, and Art Singled Out Buy the book at Amazon US

Uncommon ArrangementsUncommon Arrangements   [full review]
In an age where one third of marriages end in divorce, it’s refreshing to look at alternative arrangements some people have explored. Vanessa Bell (Virginia Woolf’s sister) managed to keep her husband Clive Bell, her lover Duncan Grant, and her ex-lover Roger Fry all frioends with each other. Ottoline Morell helped her husband cope when he revealed to her that both his lovers were pregnant at the same time. Una Troubridge remained loyal as lesbian ‘wife’ to Radcliffe Hall (of The Well of Loneliness fame) whilst Hall (who called herself ‘John’) enjoyed a nine year long affair with a young Russian girl. Troubridge however took economic revenge when she was made executrix to her ‘husband’s will. Katie Roiphe’s study of radical alternatives to conventional marriage in artistic circles includes a fair amount of emotional suffering and masochism – but it’s certainly thought provoking to see what lengths people will go to in enjoying a little sexual self-indulgence.
Women, Marriage, and Art Uncommon Arrangements Buy the book at Amazon UK
Women, Marriage, and Art Uncommon Arrangements Buy the book at Amazon US

© Roy Johnson 2012


More on biography
More on literary studies
More on the arts


Filed Under: Biography, Lifestyle Tagged With: Alma Mahler, Art, Biography, Bloomsbury Group, Cultural history, Literary studies, Modernism, Parallel Lives, Peggy Guggenheim, Vera Nabokov, Virginia Nicolson

Wyndham Lewis

May 7, 2018 by Roy Johnson

painter, novelist, critic, bohemian rebel

Wyndham Lewis was a controversial figure in English modernism between 1912 and 1954. He was both a graphic artist and a novelist, and he collaborated with some of the most influential creative figures of the period – the American poet Ezra Pound, the French sculptor Henri Gaudier-Brzeska, and the British painter Augustus John. He is credited as the co-inventor of Vorticism – the one native English movement in modern art.

Wyndham Lewis

portrait by Wyndham Lewis 1923

Lewis was born in 1882 in Amhurst, Nova Scotia to an American father and an English mother. His full name included ‘Percy’, but as an adult he tried to discourage its use. In 1888 the family moved to England and his parents separated. Percy was raised by his mother in Norwood, south London, whilst his father settled in Ryde on the Isle of Wight. His father was a licentious and improvident character who lived on money supplied by an older brother.

Lewis was sent to boarding school in Bedford then to Rugby for two years where his academic record was poor. But he showed promise in painting and drawing. At sixteen he was enrolled at the Slade, where his drawing instructor was Henry Tonks, whose previous students included Augustus John.

Despite erratic attendance, Lewis did well and in 1900 won a two-year scholarship. However, he was expelled from the college after a year – for a combination of smoking and bad timekeeping. William Rothenstein introduced him to Augustus John, whom he henceforth regarded with a sort of hero-worship.

He moved into Fitzrovia, from where he made excursions to Spain and Holland, before settling in Paris. There he acquired his first mistress – a German woman Ida Vendel who was three years his senior. He now had two women who were supporting him financially – his mother and his lover.

There were plans to marry Ida, but he was subject to jealous rages when he discovered she had had lovers in her past. After a brief sojourn in Munich he returned to Paris, and although he spent most days in studios, he also had literary ambitions. There was a plan to write a series of sonnets. He spent a summer and Xmas holiday in the company of Augustus John and his family, but continued to cadge money from Ida and his mother, who even repaid his debts to other people.

Depressed by the failure of his relationship to Ida, he relapsed into a state of neurasthenia, which was then the fashionable term for unspecified maladies. To add to his woes he managed to contract gonorrhoea on a visit to Spain. In 1909 he made his literary debut in the English Review, alongside contributors such as Roger Fry and Clive Bell. He exhibited at the Grafton Group exhibition and participated at first in the Omega Workshops enterprise. But very quickly a series of disagreements and misunderstandings arose. Lewis reacted by producing libellous round robin denouncing Fry which put an end to the association.

He branched out into similar enterprises of his own. He collaborated with Richard Nevinson on designs for futurist tableaux vivants, and together with Ezra Pound and Cuthbert Hamilton established the Rebel Arts Centre. Lewis had a new suit made to emphasise his importance of his role as the Managing Director. The enterprise came to nothing.

Wyndham Lewis

His next venture was the magazine BLAST which was launched, appropriately enough, a few days before the start of the First World War. It was virtually the journal of the English Vorticist movement, for which Lewis wrote most of its largely incoherent manifesto. The magazine caused a minor sensation, then like so many other avant-garde publications of its type, it folded after the second issue.

In his private life Lewis was breaking away from Olive Johnson, who had just borne his second child. His daughter Betty and son Peter were both raised by Lewis’s mother.

In 1916 he tried very hard to find a cushy appointment in the army, but had to settle for being a bombardier. He was posted to the front line in northern France, and whilst in the thick of heavy fighting he amazingly continued to edit the proofs of his novel Tarr which was being serialised in Harriet Weaver’s magazine The Egoist.

The following year he was given compassionate leave when his mother became dangerously ill with pneumonia. He had his leave extended thanks to the intervention of Nancy Cunard and wangled his way into becoming an official war artist. After a brief affair with Sybil Hart-Davis whose husband was fighting as a captain at the front in France he took up with Iris Barry (real name Frieda Crump) who became mother to his third child Robin. The boy was raised by his maternal grandmother and didn’t know the identity of his parents until he became an adult.

Wyndham Lewis

Praxitella

A second child Mavis was put into a ‘Home for the Infants of Gentlepeople’. Iris Barry went on to become the first film critic for the Spectator and the cinematic curator for the Museum of Modern Art in New York. She is the subject of his magnificent portrait Praxitella. But Lewis left her behind in his wake as he became something of a celebrity portrait painter. He also had an affair with Nancy Cunard but separated from her because of her preference for anal sex.

A group of his friends subscribed to a fund which would provide a monthly income to stave off his chronic financial problems. His response was to complain and insult them, whilst continuing to accept the money. He sent one of them a peremptory postcard “WHERE’S THE FUCKING STIPEND? LEWIS”

He was engaged in producing what he called his One Great Book, provisionally entitled The Man of the World, which was in fact several separate works: a study of Shakespeare, a political work on social class, and studies of contemporary youth culture and homosexuality. Not surprisingly, nobody would publish it, and the ‘book’ was split up into several separate publications. In 1926 he released both Time and Western Man (philosophy) and The Wild Body (stories).

He worked hard at promoting himself in America in the mistaken belief that he would reach a wider audience. But the market value of his paintings was falling there. By the late 1920s his domestic situation matched his fairly chaotic private life. He had rooms in two separate houses in Bayswater, one an office, the other a library. A third establishment off Portobello Road was used for painting and was kept for him by his current mistress Gladys Hoskins.

Wyndham Lewis

portait of the artist as Tyro

In 1930 he published The Apes of God, a huge novel consisting of lampoon portraits of characters in the London art world, including all the people from whom he had borrowed money and turned into enemies. It caused a lot of complaints, to which he responded by publishing a follow-up book of self-justification. He also got married to Gladys and visited Berlin.

On the strength of a German visit lasting less than a month, he produced an enthusiastic ‘study’ of Hitler and National Socialism This work was later to tarnish his reputation when Hitler’s ‘methods’ became better known in Britain. But at the time Lewis was on the crest of a wave with several publishing contracts in hand.

He moved to new premises in St John’s Wood, with a pokey studio in Fitzrovia. He produced more books, one on ‘Youth-politics’ [a euphemism] which libelled Godfrey Winn and Alec Waugh. When his publishers were forced to withdraw the work, he produced another on exactly the same subject with a different publisher. This did nothing to stem the tide of legal and financial claims made against him, largely for unpaid debts – including from his own solicitors.

His main financial problems were caused by demanding advance payment for books and paintings which he then failed to produce. His health suffered because of the lingering side effects of his gonorrhoea. And he brought more trouble on himself by writing libellous fictions and critical attacks on fellow artists

He had further difficulties placing his written work caused by the censorship imposed by the two influential circulating libraries – W.H. Smith and Boots the chemist. His novel The Roaring Quean attacking the Bloomsbury group was deemed unpublishable by Jonathan Cape’s lawyers.

His support for Oswald Mosley and Franco in Spain made sure he remained firmly against the tide of popular liberal opinion. Yet when his exhibition at the Leicester Galleries in 1937 did not attract much attention, Stephen Spender managed to gather the names of twenty (mainly leftist) artists for a letter of support in The Times.

However, his now-famous portrait of T.S. Eliot was rejected by the Royal Academy for its summer exhibition, which caused a short-lived controversy and the resignation of Augustus John as an academician.

But he did not endear himself to many people (except the Blackshirts) by publishing a book with the ridiculously provocative title of The Jews Are They Human? Whatever his political views, he left no time in sailing out of England on September 1, 1939 and emigrating to Canada – the land of his birth.

Commssions for portraits were hard to come by, so he moved on to New York where he located a literary agent John Jermaine Slocum who not only lent him money but provided a house to live in rent-free. Lewis responded to this generosity in his customary fashion: he became hostile over business arrangements and never repaid the money.

He returned with Gladys to Canada, but spent more time searching for commissions than executing them. He began looking for an ‘artist in residence’ appointment, fell on hard times, and was regularly sponging on his ex-wife Iris Barry.

Then in 1942 his luck changed. He was commissioned by Sir Kenneth Clark to produce a visual record of Canada’s activity in assisting the war effort. He also secured some public lectures via the good services of a young Marshall McLuhan who organised a slightly dubious publicity venture to lure rich patrons. He rewarded his benefactor with outbursts of paranoid hostility.

After six years abroad he returned to England the very week that the war ended. He was met by bills for unpaid rent and taxes covering the period of his absence. All efforts to resume normal productive life were hampered by post-war austerity. There was food and fuel rationing, shortage of comfort, money, and worst of all – no gin. At a physical level, his eyesight was failing, his teeth were decaying, and the apartment had dry rot.

Whilst he continued to behave in a selfish and curmudgeonly fashion to his friends and benefactors, it should be said in his favour that as art critic of The Listener he championed the causes of painters such as Robert Colquhoun, Francis Bacon, Robert MacBride, Victor Pasmore, and Ceri Richards who at that time were not well known.

The problems with his eyesight got worse, and an X-ray revealed a calcified tumour at the base of his brain. All known treatments were extremely dangerous. To make matters worse, his wife Gladys became mentally erratic and began to sink into a mild form of paranoia. Eventually he became completely blind, but continued writing, both by using a dictaphone and even writing by hand with a Biro on large sheets of paper.

Two very different twists of fortune affected his final years. Repeated conflicts with his wife led to a separation: he went to live with an old flame Agnes Bedford in Belgravia. But he was given a £250 per year pension in the Civil Lists (which Winston Churchill later increased to £500) and he was awarded an honorary doctorate by Leeds University.

Despite delays in production, his critical essay The Demon of Progress in the Arts was published, as was his late novel Self Condemned, and there was a retrospective exhibition of his paintings at the Tate Gallery which was well received.

But he felt that all these accolades had come too late. His personal life was in ruins. He was under an eviction order from the council who wanted to demolish his home and studio. And there was no let up from the tumour in his brain. It eventually killed him at the age of seventy-two.

© Roy Johnson 2018

Some Kind of Genius – Buy the book at Amazon UK

Some Kind of Genius – Buy the book at Amazon US


Paul O’Keefe, Some Sort of Genius: A Life of Wyndham Lewis, London: Jonathan Cape, 2000, pp.697, ISBN: 0224031023


More on biography
More on the Bloomsbury Group
More on literary studies
More on the arts


Filed Under: Biography Tagged With: Art, Biography, Cultural history, Modernism, Wyndham Lewis

  • « Previous Page
  • 1
  • …
  • 5
  • 6
  • 7

Reviews

  • Arts
  • Biography
  • Creative Writing
  • Design
  • e-Commerce
  • Journalism
  • Language
  • Lifestyle
  • Literature
  • Media
  • Publishing
  • Study skills
  • Technology
  • Theory
  • Typography
  • Web design
  • Writing Skills

Get in touch

info@mantex.co.uk

Content © Mantex 2016
  • About Us
  • Advertising
  • Clients
  • Contact
  • FAQ
  • Links
  • Services
  • Reviews
  • Sitemap
  • T & C’s
  • Testimonials
  • Privacy

Copyright © 2025 · Mantex

Copyright © 2025 · News Pro Theme on Genesis Framework · WordPress · Log in