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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.

Charleston: Past and Present 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.

© Roy Johnson 2000

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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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Filed Under: Art, Bloomsbury Group, Lifestyle, Product design Tagged With: Bloomsbury Group, Charleston, Decorative arts, Interior design, Lifestyle

Dada: The Revolt of Art

June 14, 2009 by Roy Johnson

Modernism 1915—1925

Dada is one of those movements in modern art which had an amazingly short life but a lasting influence. It flourished for not much more than the decade between 1915 and 1925, yet some of its legacy is still with us. It’s amazing to think that this influential movement sprang up in the middle of the first world war – though there were pre-echoes of it in the work of abstract expressionism and Russian futurism which just preceded it.

DadaTristan Tzara might have thought up the name Dada, but I doubt that anyone reads a word of what he wrote these days. However, the work of visual artists such as Jean Arp and Sophie Taeuber still speaks as something of lasting value, almost 100 years later. Dadaism was certainly what we would now call a multimedia phenomenon. It involved painting and sculpture, poetry, typography, theatre, and performance art. At one point it even included a boxing match between Jack Johnson – first black world champion – and Arthur Cravan, a poet-boxer Dadist who was the nephew of Oscar Wilde.

What came out of it that will be of enduring value? Well, certainly the use of montage in graphic design is still with us, as is production in what we now call ‘mixed media’. The work of Raoul Hausmann, Georg Groz, John Heartfield, and Kurt Schwitters still seems fresh today – though Schwitters was actually refused membership of the ‘official’ Dada group, to which he responded by setting up his own one-man movement, called Merz.

As a ‘movement’ (though it was never coherent) it spread quickly from its birthplace in Zurich to Berlin, Paris, and even New York. But its principal adherents were forever disagreeing with each other or even repudiating their own former beliefs. By the early 1920s Dada was ready to be swept up by the much stronger forces of surrealism.

This monograph is beautifully illustrated and it ends with a collection of the key declarations and manifestos of the period for those who want a taste of what was thought to be radical protest in art at the time. There’s also a very good bibliography. Pocket size in format and price, it’s an excellent introduction to the subject.

© Roy Johnson 2007

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Marc Dachy, Dada: The Revolt of Art, London: Thames and Hudson, 2006, pp.127, ISBN 0500301190


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Filed Under: Art Tagged With: Art, Dada, Decorative arts, Graphic design, Modernism

Design Since 1900

June 30, 2009 by Roy Johnson

encyclopedia of modern design and designers

This is a comprehensive guide to all aspects of modern design. It covers graphics, consumer products, interior decor, furniture, print, advertising, plus industrial and architectural design. Entries run from the Finnish designer Alvar Aalto (who for obvious reasons always comes first in such listings) through Rene Lalique (glassware) and the multi-talented Hungarian Laszlo Moholy-Nagy, to typographist Hermann Zapf and Piet Zwart (who for the same reason always comes last).

Design Since 1900Most entries are illustrated by thumbnail graphics. It’s a shame they are not in colour, but you can’t expect everything in such a good-value production. The entries are either brief biographical sketches of individual designers (Saul Bass, Charles Eames, Raymond Loewy, Alexandr Rodchenko) with notes on why they have been so influential. There are also short histories of companies famous for their emphasis on design (Bauhaus, General Motors, Olivetti, Wiener Werkstatte).

Others include influential artistic movements (art deco, constructivism, neo-plasticism, and post-modernism) and individual products which have become icons of modern design (the Citroen DS19, Dyson vacuum cleaners, Tatlin’s Monument to the Third International).

There are notes on materials of manufacture (aluminium, formica, MDF, polyurethane) movements and schools (Deutsche Werkbund, Omega, and Black Mountain College) and explanations of technical terms such as anthropometrics, bit mapping, deconstruction, and third age design (which isn’t quite what you might think).

He even includes individual shops such as Biba, Habitat, and the Body Shop; typographists such as Neville Brody, Eric Gill, and Jan Tschichold. The only thing missing is Information Technology. There are a couple of mentions of computer games, but curiously enough not a single reference to Web design.

The text incorporates extensive cross-referencing, suggestions for further reading, and a chronological chart of design highlights since 1900.

© Roy Johnson 2004

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Guy Julier, Design Since 1900, London: Thames and Hudson, 2004, pp.224, ISBN: 0500203792


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Filed Under: Design history, Graphic design, Product design Tagged With: Decorative arts, Design, Design Since 1900, Graphic design, Product design

Internet Art

June 25, 2009 by Roy Johnson

modern art meets digital technology – the latest results

As bandwidth has increased and rates for subscribing to it have dropped, so we have easier access to sites offering high quality graphics, animations, and even streamed videos. Digital artists can now make their work available to a very wide audience. This survey of contemporary internet art attempts to merge visual art with the digital world. It comes from the cheap-and-cheerful but excellent value ‘World of Art’ series of paperbacks from Thames and Hudson. As somebody who has recently started to experiment with Internet art – albeit in a Blogging sort of way – I bought this book thinking it would give me some new ideas. It did – but it’s a lot more besides.

Internet ArtIt starts off quite usefully with a quick overview of computers and the Internet, then situates the origins of Net art in the experimental art of the 1960s and 1970s. I was surprised Rachel Greene didn’t have examples from these early years. For instance, it’s half way through the book before she even mentions ASCII art.

Instead, she pitches straight into Web-based ‘happenings’ from the 1990s, where web sites are used to co-ordinate and publicise public events – usually of a ‘situationist’ type. The most interesting innovation which I had not seen before is ‘Browser Art’- where browsers are re-programmed using JavaScript and Perl scripts to simultaneously display a mosaic of materials from multiple sources. The other genre which seems promising is software art.

She is very well informed about what is going on in what I suppose still calls itself the avant-gard, so it’s all the more disappointing that her expression of it is clouded by the written style of the art school manifesto:

As site-specific sculpture operates vis-a-vis the particular components and ideologies of a place, so do many works of Internet art derive in significant ways from their location within a networked public field of vision and consumption.

Fortunately, the book is profusely illustrated, which helps you through two hundred pages of that sort of thing.

I was disappointed that she missed the chance to categorise the various genres of art object that are made possible by the Internet – the web site as display gallery, as record of an expedition, as interactive game or challenge, as multimedia experience, and so on – though she does discuss examples of each.

Blogging is covered in one sentence, and Flash animations don’t even get a mention. Even hypertextuality doesn’t get much of a look in, yet lots of space is devoted to silly art-school pranks and radical [for which read pretty useless] ‘experiments’.

Overall, this strikes me as a missed opportunity, because she clearly knows a lot about radical art of the 1990s, but her lack of historical and conceptual depth means she is unable to synthesise it. Instead, she provides a descriptive tour of various fin de siècle activist posturings, happenings, and staged art events about which most sane people will neither know nor care.

So far as I’m aware, the book on Internet Art has still to be written. Correct me if I’m wrong. Yet there’s bound to be something in here somewhere for anyone interested in the relationship between digital technology and art. Despite my reservations, I look forward to browsing some of the more inventive sites she lists in a well documented Webliography.

© Roy Johnson 2004

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Rachel Greene, Internet Art, London: Thames and Hudson, 2004, pp.224, ISBN 0500203768


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Filed Under: Art, Media Tagged With: Art, Computers, Decorative arts, Internet art, New media, Technology

Omega and After

May 21, 2009 by Roy Johnson

Bloomsbury and the decorative arts

The Bloomsbury Group was largely composed of writers and intellectuals, but there were lots of artists and designers within their ranks too. This well illustrated guide focuses on the highpoint of their endeavours – the Omega Workshops which flourished in the period 1913—1919. This venture was the brainchild of Roger Fry, who recruited Vanessa Bell (his lover at the time) and Duncan Grant as co-directors for an opening in Fitzroy Square in 1913, deep in the heart of Bloomsbury.

Omega and After That was not an auspicious date for the debut of an enterprise which sought to bring Post-Impressionist design to the general public. But in fact it survived throughout the whole of the first world war, even though it was never commercially successful. Fry organised painters, designers, and ceramicists to supply goods which were colourfully and playfully made to bring Modern Art into the home – of those who could afford it. Although the works were produced by people we now see as influential members of the modernist movement in the arts, individual productions were made anonymously, signed only with the letter omega.

A number of famous names were associated with the workshop: at one time or another Henri Gaudier-Brzeska, Paul Nash, David Bomberg, Dora Carrington, William Roberts, and Mark Gertler all had connections with the Omega.

At the launch of the project, artist and writer Wyndham Lewis was also a member; but he quickly split away from the group in a dispute over Omega’s contribution to the Ideal Homes Exhibition. Lewis circulated a letter to all shareholders, making accusations against the company and Roger Fry in particular, and pouring scorn on the products of Omega and its ideology. This subsequently led to his establishing the rival Vorticist movement and the publication in 1916 of its two-issue house magazine, BLAST.

The Omega workshops produced everything, from furniture and paintings to rugs, wallpaper, and children’s toys. All of these are wonderfully illustrated in this collection of photographs which are rarely seen anywhere else.

The text recounts the story of the enterprise and its shaky beginnings. A somewhat amateurish co-operative; the introduction of modernist clothes via Nina Hamnet (the Queen of Bohemia); and the tortured love triangle which existed between its directors.

Isabelle Anscombe devotes an entire chapter to Vanessa Bell, studiously avoiding for as long as she can the fact that she was Roger Fry’s lover; but she is forced to eventually concede that Fry was replaced by Duncan Grant. Her husband Clive Bell, who was friendly with all three of them, is kept out of the picture altogether.

The latter part of the book (the ‘After’ of her title) follows the fortunes of Vanessa Bell and Duncan Grant as they continued their work in decorative arts, at the same time as tracing developments in contemporary design taste in Britain. Both of them continued to put all their decorative efforts into their house at Charleston – which is now a museum to Bloomsbury and its visual culture.

But ultimately, it is the wonderful illustrations which are the centre of interest here: interiors, ceramics, fabrics, book jackets, and portrait photographs of the principal artists. This book is well worth tracking down for anybody with an interest in the decorative arts and the visually creative side of Bloomsbury.

© Roy Johnson 2000

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Isobelle Anscombe, Omega and After: Bloomsbury and the Decorative Arts, London: Thames and Hudson, 1984, pp.176, ISBN 0500273626


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Filed Under: Bloomsbury Group, Lifestyle, Product design Tagged With: Bloomsbury Group, Decorative arts, Design, Omega worshops

Tricia Guild Pattern

June 26, 2009 by Roy Johnson

interior design and furnishing with style and colour

Tricia Guild is an interior designer and the brand name behind a successful company which features a vivid array of fabrics and furnishings – all of which feature striking colours, bold pattern, and luxurious textures. To live with this style you have to be confident enough to choose wallpapers with huge floral designs, curtains which are multi-coloured and decorated with magnificent swags, and be prepared to upholster your three piece suites with fabrics which grab you by the lapels. You need to put turquoise silk next to hot red damask, and if you want to achieve some of the effects illustrated here your house needs to be spotlessly clean and full of marble.

Tricia Guild PatternOrnate gold mirrors, and fresh-cut flowers which offset the decor in every room would be a help too. She is inspired by fabrics, techniques, motifs and designs from all over the world and from every period of history – brocades and damasks from the Far East; the rich history of botanical illustration and flower painting; checks, plaids and stripes from northern Europe; vibrant ethnic prints from India and Central America; painterly designs from Chinese and European porcelain; the bold abstracts and geometric patterns of contemporary painters.

Not that it’s all entirely in-your-face colour and bold pattern. She also has some subtle and restrained examples of ticking used to create a cool, contemporary atmosphere. But those are the exception. Most of the book is filled with hot, passionate colours, and rich textures emphasised by extreme close-up photographs. There’s a whole chapter on the use of flowers in fabric patterns – tulips, poppies, roses, and chrysanthemums.

I feel a bit sorry for the people who supply the text for these books. They are competing for the reader’s attention against overwhelming odds. The visuals drown out everything. And yet Elspeth Thompson has some interesting things to say about the nature of pattern and she offers thoughtful analyses of the interiors illustrated in the examples shown.

Many of the pages are like Howard Hodgkin paintings. It’s difficult not to be seduced by the visual texture of it all. My recipe for these interior design style books is to look at the overall effect, then choose one element on each page which you could incorporate into your own home. It could be the colour scheme, the positioning of furniture, the lighting, or (in this case) the use of patterned fabrics to breathe life into a room.

The book itself is a bibliographic reflection of this torrid style. It’s printed on thick paper, with occasional translucent inserts, beautifully photographed and illustrated – and has a cover jacket that’s like flock wallpaper from an Indian restaurant.

© Roy Johnson 2006

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Tricia Guild and Elspeth Thompson, Pattern, London: Quadrille, 2006, pp.208, ISBN: 1844003264


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Filed Under: Individual designers, Lifestyle Tagged With: Decorative arts, Design, Interior design, Lifestyle, Tricia Guild: Pattern, Trisha Guild

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