Bloomsbury Group Archives - Page 2 of 11

Bloomsbury Rooms

July 15, 2009 by Roy Johnson

Modernism, Subculture, and Domesticity

Bloomsbury Rooms is a beautifully illustrated book which explores the relationship between Bloomsbury notions of aesthetics and the actual interior designs of the homes in which its members lived. Christopher Reed takes their various houses as starting points – 46 Gordon Square, Asheham, Brunswick Square, Charleston, 52 Tavistock Square – for meditations on their socio-psychological development and the notions of art practised by Vanessa Bell, Walter Sickert, Roger Fry, and Duncan Grant.

It should be said from the outset that although this has the size and has the high production values of a coffee table book, it is not a casual or an easy read. Christopher Reed situates Bloomsbury within theoretical concepts of art that were competing with each other in the early phase of European modernism in a serious and heavyweight fashion. And these theories themselves are analysed in a political and ideological manner. In fact his study is not only about Bloomsbury’s domestic interiors. He is profoundly well-read in the whole Bloomsbury oeuvre, and right from the start he emphasises the political radicalism out of which much of its artistic practices sprung.

He engages quite passionately with art theory, social criticism, and the philosophic relationship between politics and human relations to which they gave expression in their domestic lives. He sees this as an early version of an idea we now express as ‘the personal is political’.

His study challenges the accepted notion that these artists drifted away from orthodox modernism. He argues that their aesthetics were formed by fully conscious choices, made by people who were often more politically radical than was generally acknowledged – both then and now.

Whatever you think of the book’s theoretical arguments, it’s a beautifully illustrated production, full of fascinating paintings, fabrics, decoration, interior design, and original graphics. It’s meticulously researched, fully annotated with extensive notes, an enormous bibliography, and a full index.

And Bloomsbury was a world of graphic and interior design, as well as literary culture. Vanessa Bell was a painter and book illustrator, Duncan Grant was a painter and interior designer, and Roger Fry was a painter, art critic, and at one time advisor to the Metropolitan Museum of Art in New York.

Many of their designs for the Omega workshops are in evidence here, as well as the decoration of their own homes in both London and the countryside. Artistic theory aside, for most readers it will be the photographs, illustrations, the paintings, ceramics, and textile designs which will be the main attraction here. There simply aren’t any other books in print offering such a rich glimpse into the visual world that Bloomsbury represents.

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Christopher Reed, Bloomsbury Rooms: Modernism, Subculture, and Domesticity, New York: Yale University Press, 2004, pp.314, ISBN: 0300102488

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Bloomsbury Women

January 7, 2018 by Roy Johnson

illustrated guide to female artists and writers

Bloomsbury Women is a beautifully illustrated and well-designed book. It features paintings, photographs, woodcuts, and biographical sketches of all the principal female characters in the Bloomsbury Group. Jan Marsh starts with an account of how the phenomenon that is ‘Bloomsbury’ came into being – a story that is now quite well known. But she puts more than usual emphasis on the female members of the group.

Virginia Woolf in a deckchair

There are any number of outstanding characters discussed – Dora Carrington, Nina Hamnett, Ottoline Morrell, and Katherine Mansfield – but the figure dominating her entire account is Vanessa Bell. Perhaps rightly so in the sense that she was both a reasonably successful artist, a powerful matriarchal figure, and someone who was connected to so many other members of the group.

She was the elder sister of Virginia Woolf, and was artistically successful as a painter in her own right. She was married to the critic Clive Bell; and she lived most of her adult life with fellow artist Duncan Grant. The painter and art theorist Roger Fry was also briefly one of her lovers. And she managed to keep them all friendly with each other.

There’s very little here that isn’t already well known to experienced Bloomsbury followers, but the biographical sketches are well woven together. There are also some excellent anecdotal gems which illustrate the culture of a bygone age, such as the advice Molly MacCarthy was given by her mother for facing life:

In all disagreeable circumstances, remember three things. I am an Englishwoman. I was born in wedlock. I am on dry land.

It was not surprising that following her engagement, Molly (daughter of the Eton Provost) suffered a nervous breakdown brought on by her fear of the ‘unknown’ (sex) – something she more or less shared with Virginia Woolf.

Jan Marsh is particularly good at explaining the new painting techniques being explored. She uses as illustrative examples pictures that are actually reproduced in the book – which creates a successful merging of visual presentation and textual analysis that is often absent in studies of this kind.

There’s a fascinating comparison of representation via written narrative and graphic illustration – writing and painting. She argues (persuasively) that Virginia Woolf’s experimental fictions were a form of post-Impressionism in prose

He discussion of the Omega Workshops reminds us how talented (if capricious) the younger Nina Hamnett was at this period, and there are excellent illustrations of her work to prove it.

The narrative is also structured around places – Garsington Manor, Charleston, Tidmarsh, Ham Spray, as well as the many Squares in the Bloomsbury district of London where many of them had town houses.

She ends on rather a downbeat note with a roll call of deaths. First there is Lytton Strachey, followed immediately by the suicide of Dora Carrington. Then comes Julian Bell, killed in the Spanish Civil War, Roger Fry, and finally, seemingly bringing this epoch to an end, Virginia Woolf’s suicide in 1941.

But the overall message of the study is far from pessimistic. It is a celebration of writers and artists exploring new possibilities in their work and the personal relationships they formed with each other.

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Jan Marsh, Bloomsbury Women: Distinct Figures in Life and Art, London: Pavilion Books, 1995, pp.160, ISBN: 1857933249

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Bloomsbury: A House of Lions

June 17, 2009 by Roy Johnson

biographical portraits of Bloomsbury Group principals

It’s easy to make fun of the Bloomsbury Group, because they were a privileged upper-class clique; they were often snobbish; and they created personal relationships of extraordinary complexity. But Leon Edel takes a balanced and largely sympathetic view which helps to bring out their positives:

they were a group of rational and liberal individuals with an arduous work ethic and an aristocratic ideal…They had a passion for art; they liked the fullness of life…They wrote. They painted. They decorated. They built furniture. They sat on national committees. They achieved a large fame…They criticized the Establishment but, unlike most critics, they worked to improve it. They hated war. Some refused to fight; others believed they had to see the 1914-18 conflict through to the end. All actively worked for peace.

His account follows the unusual structure of starting with a portrait of one character, then passing on to another when the two meet. For instance, at Trinity College Cambridge, Leonard Woolf (stoic, disciplined, intellectual) meets Clive Bell (lightweight, bon viveur, artistic dreamer) and before long they both form friendships with Lytton Strachey (clever, lofty, neurasthenic).

Shortly afterwards Thoby Stephen, John Maynard Keynes, and Sidney Saxon-Turner join them as members of the Apostles, and all of them come under the influence of G.E.Moore, who published his influential Principia Ethica in 1903.

Edel’s account takes very much a psychological view of these characters – and yet it is from a distance. There is very little personal detail. You would never know from his opening chapters that Strachey and Keynes were lovers for instance.

Once the Cambridge connection is made, other characters are introduced: the charming Desmond MacCarthy, and Leslie Stephen, visiting his son Thoby in his own alma mater. He brings with him his two daughters Vanessa and Virginia, up for the May Ball. It is like the plot of a novel unfolding.

The individual studies are not biographical in the conventional sense. There is no attempt to document historical facts. Instead, they are impressionistic, psychological, and unashamedly subjective – though clearly based on detailed knowledge. This method has some interesting results when dealing with such topics as the sexual rivalry between the Stephen sisters, or meditating on the imagery of mirrors and death in Virginia’s writing.

After they all left Cambridge, Thoby Stephen began the Thursday Club in Gordon Square at which members were invited to discuss topic such as The Good, The Beautiful and Truth. Then Vanessa (less intellectual) established the Friday Club where the subject was Art – preferably modern.

Much of the rest of the story is reasonably well known. When Vanessa marries Clive Bell, Virginia and her younger brother Adrian set up a separate home in Fitzroy Square. Then Vanessa takes up with Roger Fry as a lover – only to replace him with Duncan Grant soon afterwards.

Edel covers the strange but ultimately successful marriage of Virginia and Leonard Woolf (though omitting to mention that Vita Sackville-West was for some time her lover); the impressive achievement of Lytton Strachey’s Eminent Victorians; and Maynard Keynes’ work at the Treasury and his role in the Versailles Treaty, which culminated in his resignation and the writing of Economic Consequences of the Peace.

His main focus is on the period 1900 to the 1920s – for that is when he sees the essential spirit of the group forming and having its strongest influence. By the 1930s a change of zeitgeist meant the modernist baton was passed on to a younger generation – though many Bloomsbury members (Duncan Grant and Leonard Woolf, for instance) carried on working into the 1960s and 1970s.

So despite its psychological approach, this is not a volume for gossip and tittle-tattle. For that you will need to consult other memoirs and biographies. But what Edel brings to this group portrait are his biographical skills, his enormous literary erudition, and an imaginative respect for his subjects.

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Leon Edel, Bloomsbury: A House of Lions, London: Penguin, 1988, pp.288, ISBN 0140580247

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Bohemians: The Glamorous Outcasts

July 25, 2009 by Roy Johnson

alternative lifestyles amongst modernist bohemians

What are Bohemians? Are they people who choose poverty in order to produce works of art – or characters who dress flamboyantly, take drugs, and parade up and down Kings Road in Chelsea, hoping to become famous? Well, it appears it can be either or both of those things – and more besides. Elizabeth Wilson brings together both major and minor bohemian figures from two centuries and both sides of the Atlantic in a scholarly attempt to define the phenomenon. She identifies the key element of Bohemia as a gravitation towards the city, to be free of the constraints of provincial life.

And she opts for Paris as its true birthplace – despite offering Byron as the first great Bohemian figure, though she does follow him with Arthur Rimbaud and Oscar Wilde who have stronger Parisian connections. Her chapters are built on themes, and the content can be both chronologically lose and geographically disconcerting. One minute it’s the opening night of Alfred Jarry’s scandalous Ubu Roi, next it’s California’s Venice Beach in the 1950s, and then on without pause to Viv Stanshull setting fire to himself in bed in 1995.

But at least this does have the virtue of suggesting that what she calls Bohemia can exist at any time and in any place. She speaks of it in the past tense, and yet there’s every reason to believe that this sort of world still exists – though as Malcolm Cowley, speaking of Greenwich Village in the 1920s observed, “Bohemia is always yesterday”.

She’s particularly good on the role of women in relation to Bohemianism – whether as muse to a male artist (Elizabeth Siddall, Alma Mahler) or as long-suffering wife-supporter (Dorelia John, Caitlin Thomas). But I think she’s stretching her notion of Bohemia rather for including relatively successful female artists such as Louise Colet and George Sand.

Despite her scholarly approach, her prose style occasionally slides into a poetic mode, as in her comments on the relationship between cafe life and smoking:

To smoke was more than a way of passing the time. It was the classic ‘displacement activity’ which gave coffee drinkers who had long since emptied their cup, lovers who had been stood up, and intellectuals who had lost their ‘circle’ the feeling that they were doing something, had a purpose. I smoke, therefore I am. Smoking orchestrated time, gave it a rhythm, punctuated talk, theatrically mimed masculinity and femininity, was the intellectuals’ essential accessory, and was also an erotic gesture, enhancing the mystery of some unknown drinker seated at her table, veiled in a bluish haze.

Her chapters are packed with interesting characters and rich in social history. She covers the surrealists, Parisian night life, and the cult of negritude in the 1920s, symbolised so magnificently by Josephine Baker.

Yet despite several attempts, she never gets round to defining bohemianism successfully. She simply chains together various types of outsider or larger-than-life figures. Sometimes her subjects are members of a quasi-artistic sub class, but often they are just alcoholics, scroungers, and hangers-on.

There’s a big difference between someone who produces great works of art but dies young (Modigliani) and someone like Marianne Faithful (mentioned more than once) who does very little except take drugs and who is no more than a talent-less has-been, .

Her book could do with a different title. Many of the people she describes were not really bohemian – just famous, dissipated, or so rich they could do as they pleased. Other were neither glamorous nor outcast. Some were fat, ugly, and badly dressed, and others cast themselves out simply by choosing not to work. But it’s a fascinating collection of portraits nevertheless.

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Elizabeth Wilson, Bohemians: The Glamorous Outcasts, London: Tauris, 2003, pp.275, ISBN: 1860647820

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Carlyle’s House and Other Sketches

July 25, 2009 by Roy Johnson

Virginia Woolf’s previously unpublished early works

This is an unusually exciting event for Woolf fans – the first publication of an undiscovered notebook which had been lost for seventy years. Carlyle’s House was written in 1909 when Virginia Woolf was living with her brother Adrian in Fitzroy Square. She was struggling with her first Novel, The Voyage Out and wondering if she would ever be married. It was discovered only a couple of years ago, in Birmingham. The contents of the notebook (which she made herself, by hand) is a series of seven portraits written, as she says of them herself as a sort of artist’s notebook: “the only use of this book is that it shall serve for a sketch book; as an artist fills his pages with scraps and fragments, studies of drapery – legs, arms & noses … so I take up my pen & trace here whatever shapes I happen to have in my head … It is an exercise – training for eye & hand”.

They are an attempt to capture people visually, socially, and even morally. She is trying out the literary techniques which were later to make her famous – capturing the sense of life by a combination of shrewd observation, making imaginative connections between disparate subjects, and sliding effortlessly into philosophic reflections on the topic in question.

Some of her observations and commentary are amazingly snooty and condescending. Speaking of the children of Sir George Darwin who she visits in their campus home in Cambridge, she observes:

Margaret is much less formed; but has the same determination to find out the truth for herself, and the same lack of any fine power of discrimination. They enjoy things very much, and fancy that this is due to their superior taste; fancy that in riding about the streets of Cambridge they are building up a theory of life.

Even people’s furniture and choice of paintings and home decor is subject to a scrutiny so close that it becomes like a moral measuring tape:

In the drawing room, the parents’ room, there are prints from Holbein drawings, bad portraits of children, indiscriminate rugs, chairs, Venetian glass, Japanese embroideries: the effect is of subdued colour, and incoherence; there is no regular scheme. In short the room is dull.

As Christopher Reed argues in his authoritative study of this subject, Bloomsbury Rooms, the aesthetics of interior design and furnishing held amongst the Bloomsberries was shot through with a political ideology.

Woolf idolatrists will have to swallow hard to stomach the disgusting anti-semitism of her revealingly entitled piece ‘The Jews’ – for it is in fact a sketch of a single person, Mrs Loeb, who she had visited at Lancaster Gate.

There’s a commendably thorough introduction by Woolf specialist David Bradshaw, full explanatory footnotes, and a foreward by Doris Lessing which is so poorly written that it throws the style of the young Virginia Woolf into high relief. Bradshaw also offers a commentary on each sketch, setting it in context and bringing together all the observations from wide-ranging Woolf scholarship which throw light on these episodes.

This might be the work of the young and untried Woolf, and it might reveal the less-developed and even unappealing side of her character. But we know that she revised many of these attitudes and beliefs in later life. This is a brief collection which enthusiasts will not want to miss.

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Virginia Woolf, Carlyle’s House and Other Sketches London: Hesperus, 2003, pp.88, ISBN: 1843910551

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Carrington: A Life of Dora Carrington

June 19, 2009 by Roy Johnson

Art, love, and Bohemian life in Bloomsbury

Dora Carrington was a painter, an early feminist, and a figure who flits in and out of the lives of several members of the Bloomsbury Group, of which she was a significant member. This is the (so far) definitive biography of her troubled existence, which covers her day-to-day life in great detail – much of it based upon her voluminous correspondence. She grew up in a stiflingly conventional home in Bedford, loving her father and hating her mother.

With a talent for art, she was glad to get away from home at seventeen and spread her wings at the Slade, living in Gordon Square, right in the heart of Bloomsbury. Her style of painting and drawing was firmly traditional, and it fitted with the aesthetic of the Slade.

She was unaffected by the craze for Post-Impressionism which followed Roger Fry’s famous 1910 exhibition at the Grafton Galleries which Virginia Woolf claimed changed human nature that year. She cut her hair short in a style which became famous (‘crop head’) and two of her fellow students, ‘Chips’ Nevinson and Mark Gertler, promptly fell in love with her. This resulted in the first of her many love triangles, plus a form of unhappiness for all concerned. Although she behaved in a provocative manner, she refused to choose between them, or to have a sexual relationship with either of them.

In 1914 she met D.H. Lawrence and David Garnett, joined Roger Fry’s Omega Workshop, and was moderately successful in her decorative art work. Then in 1915 she spent a weekend amongst the Bloomsbury Group at Asheham which was to change her life. Lytton Strachey (who was in love with Mark Gertler) made a sexual pass at her, and she immediately fell in love with him.

Although she had kept Gertler at bay for five years, she gave herself to Strachey from the outset – then ended up having a sexual relationship with both men at the same time, even though Strachey was really a homosexual. [Remember – this is Bloomsbury.] Eventually she set up home with Strachey at Tidmarch Mill House and found her first sustained period of happiness.

Yes – that’s Dora Carrington

However, with a twist which typifies relationships in the Bloomsbury Group, they moved Ralph Partridge in to live with them. Carrington shared his bed, and Strachey fell in love with him. She then moved to live with Partridge in Gordon Square when he was given a job at the Hogarth Press, and then married him in 1921, even though she claimed she was still in love with Strachey – who with characteristic generosity paid for their honeymoon, and even joined them on it.

Not long afterwards she started an affair with her husband’s best friend, Gerald Brenan – around the same time that Partridge moved his new lover Valentine (actually Gladys) Dobree into their family home at Tidmarsh.

It is commonly assumed that Carrington sacrificed her artistic possibilities to the effort of looking after Strachey and Partridge, but Gretchen Gerzina argues that on the contrary, she was at her most productive when her domestic and personal life were settled and untroubled by romantic entanglements.

But the level of emotional masochism in her life is remarkable. Whilst her husband took his new lover Frances Marshall on holiday to Paris, he forbade her to even write to Gerald Brenan. She distracted herself from this humiliating position by starting an affair with Henrietta Bingham, the daughter of the American ambassador, a foray into Sapphism which made her regret she hadn’t started earlier. And this didn’t stop her sleeping with Gerald Brenan as well – so by this time she had certainly got rid of her earlier sexual reluctance.

Almost all the evidence for this personal narrative comes from letters. These people were super-communicative on paper. But the correspondence needs to be carefully interpreted – because they often wrote knowing that third parties might read what they said. Partridge not only banned Carrington from writing to Brenan, but insisted on reading all her correspondence. So she developed the strategy of inserting personal messages into secret addenda – which were nevertheless sometimes intercepted. And she was much given to reading other people’s private mail too.

As the menage she helped to create with Strachey and Partridge began to fall apart, she consoled herself with Bernard (Beakus) Penrose [brother of Sir Roland] in one last romance. But it was Strachey who remained her most lasting affection, and when he died (of undiagnosed stomach cancer) in 1932 she felt that she could not live without him. So she shot herself – aged just thirty-nine.

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Gretchen Gerzina, Carrington: A Life of Dora Carrington 1893-1932, London: Pimlico, 1995, pp.342, ISBN 0712674209

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Charleston: Past and Present

May 23, 2009 by Roy Johnson

official guide to one of Bloomsbury’s cultural treasures

Charleston is the country house in Lewes, Sussex which was established as a family home by Vanessa Bell and Duncan Grant. She was married to Clive Bell at the time and had children by both men, but this was how things were done in the Bloomsbury Group. They lived in the house for over fifty years, covering the walls and furniture with their paintings, designing ceramics, making rugs and wall hangings, cultivating the gardens – and generally forming what became a unique collection of domestic and interior design.

The house also became the country retreat for many of the Bloomsbury Group. Vanessa raised her children Julian, Quentin and Angelica there, and she was visited by her sister Virginia Woolf, as well as by her ex-lover Roger Fry, and at weekends her husband Clive Bell and his lover Mary Hutchinson. These people in turn brought their friends such as John Maynard Keynes, Lytton Strachey, E.M.Forster, and David Garnett. Their personal lives and relationships were rather complicated, but this joint artistic venture was one that helped cement their common interests in design, decoration, painting, and domestic arts.

The Bloomsberries were great supporters of modern art, and many of them had made judicious purchases long before the artists became well known. Consequently, the walls of the house came to be decorated not only with their own paintings, but with works by Picasso, Matisse, Derain, Vlaminck, and Modigliani.

The main part of the book is the official guide to the house and gardens, written by Bloomsbury expert Richard Shone. This contains details of the contents of all the main rooms, and is well illustrated by colour photographs of their principal features and objects.

The latter part of the book is a collection of letters and memoirs, written by Quentin Bell and Angelica Garnett, who was his sister but who didn’t know that her father was Duncan Grant until she was eighteen. Quentin Bell’s memoir is of an idyllic childhood, spent with his brother Julian, largely unsupervised by semi-absent parents. He gives a Swallows and Amazons type of account.

His sister Angelica’s is more seriously thoughtful and reflective. It combines observations on Vanessa Bell’s fabric designs with psychological analyses of her relationship with Charleston and its other inhabitants. She captures the spirit and the development of the house as if it were a living being. She also draws an interesting socio-political contrast with her Christmas visits to the conservative house at Seend, which was the home of Clive Bell’s parents:

Even though it was at Seend that I celebrated my birthday – a birthday that belonged by rights to Charleston…the atmosphere of Victorian constraint could not have been tolerated for longer than the three or four days we spent there … it did not contain, as Charleston seemed to, the secret of creativity and renewal.

It’s also a paean of appreciation for her mother, as the presiding spirit of generosity and creativeness that permeated the house. This chapter is an interesting addendum to the account of her childhood that she provides in Deceived with Kindness.

Miraculously, the house survived the second world war and was kept in more or less its original condition. Quentin Bell (who grew up there) describes the practical difficulties and strategic frustrations of restoring the property. Fortunately for the historical records of English modernism, the house was completely refurbished, then purchased from its original owners, and is now governed by The Charleston Trust.

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Quentin Bell et al, Charleston: Past and Present: The Official Guide to One of Bloomsbury’s Cultural Treasures, London: Harvest Books, 1988, pp.180, ISBN 0156167735

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Clive Bell biography

September 17, 2009 by Roy Johnson

art critic and Bloomsbury socialite

Clive Bell (1881-1964) was raised at Cleve House in Seend, Wiltshire. His father William Heward Bell was a rich industrialist who had made his money in coal mining at Merthry Tydfil. He fashioned himself Squire and re-built part of the house in the style of a Tudor mansion, adding a family crest. Clive was educated at Marlborough (a ‘public’ school – that is, private), then at Trinity College Cambridge. It was there that he met Thoby Stephen, Lytton Strachey, John Maynard Keynes, and Leonard Woolf. After university, he went to study in Paris, originally intending to do historical research. He was very influenced by the art he saw there and switched his studies to painting.

Back in London, when his friend Thoby Stephen invited fellow students home to an evening discussion group in Gordon Square, Bloomsbury, Clive met Thoby’s sisters Vanessa Stephen and Virginia Stephen. It was there that the network of friendships and liaisons was formed which became known as the Bloomsbury Group.

He became romantically attracted to Vanessa Stephen, but she turned down his first two proposals of marriage. However, in 1907, following the deaths of both her father and brother Thoby, she accepted him. They had two sons, Julian and Quentin, both of whom went on to become writers.

In 1909 he met Roger Fry by accident on a railway journey and became involved in the promotion of modern art which culminated in the famous Post-Impressionist Exhibition in 1910. Fry became a close friend of the family, and in 1911 went on holiday with them to Greece and Turkey. When Vanessa became ill, it was Roger Fry who nursed her back to health, and the pair began an affair, leaving Clive Bell to turn his romantic attentions back onto an old flame, Mary Hutchinson (who also had affairs with both Aldous Huxley and his wife Maria).

He published his first major work, Art, in 1914. In this he set out his idea of ‘significant form’, which is a notion that foregrounds the importance of form in painting over its overt subject matter. Like almost all other members of the Bloomsbury Group, he was opposed to the first world war, and in 1915 published a controversial pamphlet, Peace at Once, calling for a negotiated settlement to the conflict. This was considered an outrageous suggestion by the establishment of the time, and his essay was burned by the Public Hangman.

His relationship with Vanessa had virtually come to an end, although the couple remained on friendly terms, and Clive was a regular visitor to the family home at Charleston in Sussex. Vanessa had in fact moved on from Roger Fry to Duncan Grant, and even though he was an active homosexual, they spent virtually the rest of their lives together.

However, Vanessa had another child, Angelica. The father was Duncan Grant, but for the sake of propriety, she was given Clive’s name and passed off for nearly twenty years as his daughter. This deception and its dramatic consequences are described in Angelica’s memoir Deceived with Kindness.

His friend from Cambridge, Lytton Strachey described the various facets of Bell’s personality:

His character has several layers, but it is difficult to say which is the fond. There is the country gentleman layer which makes him retire into the depths of Wiltshire to shoot partridges. There is the Paris decadent layer, which takes him to the quartier latin where he discusses painting and vice with American artists and French models. There is the eighteenth-century layer which adores Thoby Stephen. There is the layer of innocence which adores Thoby’s sister. There is the layer of prostitution, which shows itself in an amazing head of crimped straw-coloured hair. And there is the layer of stupidity which runs transversely through all the other layers.

Bloomsbury Group – web links

Hogarth Press first editions
Annotated gallery of original first edition book jacket covers from the Hogarth Press, featuring designs by Vanessa Bell, Roger Fry, and others.

The Omega Workshops
A brief history of Roger Fry’s experimental Omega Workshops, which had a lasting influence on interior design in post First World War Britain.

The Bloomsbury Group and War
An essay on the largely pacifist and internationalist stance taken by Bloomsbury Group members towards the First World War.

Tate Gallery Archive Journeys: Bloomsbury
Mini web site featuring photos, paintings, a timeline, sub-sections on the Omega Workshops, Roger Fry, and Duncan Grant, and biographical notes.

Bloomsbury: Books, Art and Design
Exhibition of paintings, designs, and ceramics at Toronto University featuring Hogarth Press, Vanessa Bell, Dora Carrington, Quentin Bell, and Stephen Tomlin.

Blogging Woolf
A rich enthusiast site featuring news of events, exhibitions, new book reviews, relevant links, study resources, and anything related to Bloomsbury and Virginia Woolf

Hyper-Concordance to Virginia Woolf
Search the texts of all Woolf’s major works, and track down phrases, quotes, and even individual words in their original context.

A Mrs Dalloway Walk in London
An annotated description of Clarissa Dalloway’s walk from Westminster to Regent’s Park, with historical updates and a bibliography.

Women’s History Walk in Bloomsbury
Annotated tour of literary and political homes in Bloomsbury, including Gordon Square, University College, Bedford Square, Doughty Street, and Tavistock Square.

Virginia Woolf Society of Great Britain
News of events, regular bulletins, study materials, publications, and related links. Largely the work of Virginia Woolf specialist Stuart N. Clarke.

BBC Audio Essay – A Eulogy to Words
A charming sound recording of a BBC radio talk broadcast in 1937 – accompanied by a slideshow of photographs of Virginia Woolf.

A Family Photograph Albumn
Leslie Stephens’ collection of family photographs which became known as the Mausoleum Book, collected at Smith College – Massachusetts.

Bloomsbury at Duke University
A collection of book jacket covers, Fry’s Twelve Woodcuts, Strachey’s ‘Elizabeth and Essex’.

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David Garnett biography

September 18, 2009 by Roy Johnson

author, editor, bookshop owner

David Garnett (1892-1981) was the son of Edward Garnett, an influential publisher’s reader and Constant Garnett, a translator who did a great deal to popularise the Russian classics in England. He first met members of the Bloomsbury group in 1910, but was not a regular member until 1914 when he became Duncan Grant’s lover.

Like most of the members of the Bloomsbury group, Garnett was a pacifist. In order to be exempted from military service during World War I, he and Duncan Grant moved to Wissett in the Suffolk countryside to become farm labourers. Although they were at first refused exemption by a tribunal, they appealed and were eventually recognised as conscientious objectors.

When Duncan Grant formed his lifelong relationship with Vanessa Bell, Garnett went to live with them at Charleston. What happened after that fully illustrates the complex personal relationships which characterise the Bloomsbury Group and the behaviour of its members. First of all in 1918, Vanessa gave birth to a child Angelica, which was fathered by Duncan Grant. But because Vanessa was still married to Clive Bell, the child was given to believe that Clive Bell was her father – a deception which was to have problematic consequences.

At Angelica’s birth, Garnett admired the child and wrote to Lytton Strachey “I think of marrying it. When she is 20, I shall be 46 – will it be scandalous?”

Quentin Bell was one of the last surviving members of the Bloomsbury circle. In Bloomsbury Recalled he offers a candid portrait gallery of major and peripheral Bloomsbury figures. His father, Clive Bell, married the author’s mother, Vanessa Stephen (Virginia Woolf’s sister) in 1907 but pursued love affairs while Vanessa, after a clandestine affair with art critic Roger Fry, lived openly with bisexual painter Duncan Grant, with whom she had a daughter. Clive, Duncan and Vanessa were reunited under one roof in 1939, and the author conveys a sense of the emotional strain of growing up in ‘a multi-parent family’. Along with chapters on John Maynard Keynes, Ottoline Morrell and art historian-spy Anthony Blunt, there are glimpses of Lytton Strachey, novelist David Garnett, and Dame Ethel Smyth, the pipe-smoking lesbian composer, who fell in love with Virginia Woolf.

Garnett operated a bookshop in Soho. In 1923 he married Rachel (Ray) Alice Marshall, a book illustrator. He had a success with his first novel Lady into Fox (1922) and its follow-ups A Man in the Zoo (1924) and The Sailor’s Return (1925).

When the marriage to Ray Marshall failed, he turned his attentions back to Angelica Bell (really Angelica Grant) who was now growing up. When she became nineteen, she found out the truth of her father’s true identity. A year later she married Garnett, her father’s former lover, just as he had profetically suggested twenty years earlier. This relationship was disapproved of by her mother Vanessa Bell, and it caused a rift between them which lasted for years. Angelica Garnett gives her side of this odd story in her memoir of Bloomsbury childhood, Deceived with Kindness.

Garnett also edited the letters of T.E.Lawrence and the novels of Thomas Love Peacock. Later in life he produced three autobiographical volumes: The Golden Echo (1953), The Flowers of the Forest (1955), and The Familiar Faces (1962).