Feeds:
Posts
Comments

Archive for the ‘art exhibits’ Category

Fifty ceramic plates decorated with images of famous women through the ages, from Sappho to Greta Garbo to Virginia Woolf. That describes the Famous Women Dinner Service painted by Vanessa Bell and Duncan Grant between 1932 and 1934 that is now on display in the Outer Studio at Charleston.

The series includes 12 dancers and actresses, 12 writers, 12 beauties, and 12 queens, each painted on plain white Wedgwood, in addition to a set of period women and two portraits of the artists themselves. The women are surrounded by bold patterned borders, with Duncan as the only man in the series.

History of the dinner service

Bell and Grant painted the dinner service for Kenneth Clark, the art historian and director of the National Gallery, and his wife Jane. As a friend and patron to Bloomsbury artists, he owned a large collection of their work. The dinner service the Clarks commissioned was made up of 140 pieces and was one of the largest commissioned works produced by the Bloomsbury artists.

Charleston

The service remained a part of the Clark household until a 1956 move to Saltwood Castle. Remarkably, it had already survived the Blitz and numerous changes of address before it went missing.

Historians considered the dinner service lost for nearly 40 years. Last year, officials at the Piano Nobile Gallery were shocked when one of its clients admitted to having the entire set, which was quietly returned to the UK.

It is now owned by The Charleston Trust, thanks to the support of Piano Nobile, generous grants from the Heritage Lottery Memorial Fund and Art Fund, and donations from a circle of remarkable women.

The artistic process and feminist philosophy

The dinner service forms an impressive testament to Bell and Grant’s close working partnership at Charleston. They carefully researched each woman they chose, basing most of their paintings on photographs and portraits.

The design, which places women at the center of the conversation, was left to the discretion of Bell and Grant; the two artists did not need final approval from the Clarks.

The exhibit information at Charleston notes that, “The final 48 famous women make an intriguing and unexpected list, one that demonstrates Bloomsbury’s understanding of gender equality” and “anticipates feminist politics.” As Bell noted to Roger Fry in 1932, the project “ought to please the feminists.”

The research

The series features women with “an overlapping strength of character,” according to Hana Leaper, who has completed groundbreaking scholarship on the series. Her scholarly work  has been followed by closer scholarship dedicated to the individual plates.

This research was published in print for the first time last year as From Omega to Charleston: The Art of Vanessa Bell and Duncan Grant 1910-1934 . The book was produced in partnership with the Paul MellonCentre for Studies in British Art.

Four years earlier, in 2014, curatorial interns at Charleston discovered preliminary sketches for the plates and posted the findings of their research on the Charleston Attic blog. The initial designs were carried out on round scraps of paper and card in pencil and ink.

When the Literature Cambridge course on Virginia Woolf’s Gardens ended last month, I was among the students who took a coach trip to Charleston, where we viewed the entire collection.

Very little is known about women,” wrote Woolf in 1929. “The history of England is the history of the male line, not the female. Of our fathers we know always some fact, some distinction. They were soldiers or they were sailors; they filled that office or they made that law. But of our mothers, our grandmothers, our great-grandmothers, what remains? – Virginia Woolf, “Women and Fiction,” 1929

This figure greets visitors to the Famous Women Dinner Service exhibit on display in the Outer Studio at Charleston.

Overall view of the Famous Women Dinner Service at Charleston

Plates depicting actresses in the Famous Women Dinner Service

Plates depicting writers in the Famous Women Dinner Service. The Vanessa Bell plate is in the second row from the top, far right.

More notable women in the Famous Women Dinner Service

Various famous women from throughout history are depicted in this selection of plates from the Famous Women Dinner Service.

The Virginia Woolf plate in the Famous Women Dinner Service, which was hand-painted by Vanessa Bell and Duncan Grant between 1932-1934.

Read Full Post »

In 2017, Ane Thon Knutsen combined her love of Virginia Woolf and her love of typesetting with her project A Printing Press of One’s Own. The two came together in her hand-set volume by the same name, which she debuted at the 27th Annual International Conference on Virginia Woolf at the University of Reading that June.

Now she’s at it again, this time with a massive installation titled “The Mark on the Wall,” which runs Jan. 22 – Jan. 27 at Kunstnernes Hus, Oslo.

The free exhibition is a part of Artistic Research Week 2019.

Ane’s project

In this practice based PhD. Ane Thon Knutsen reflects on how the material process of typesetting colours the way one thinks about words and the physical materials of literature, from within the practice of typesetting itself.

The results of this research will be presented as a massive installation, an adaptation of Virginia Woolf’s “The Mark on The Wall” (1917). “The Mark on the Wall” is the first story Woolf wrote whilst teaching her self to typeset. The prints will all appear in one installation, filling a huge room.

Knutsen’s adaptions of this short story represents a new way of reading Woolf as a typesetting author. Knutsen reflects on and lives out how thoughts materialize in the world, in a pendular process between the mind and the body. In this installation Knutsen is translating the story from the pages of the book to a room of one´s own.

Knutsen will also be showing previous adaptions of “The Mark on The Wall” simultaneously at Oslo National Academy of The Arts.

See a time-lapse video of the printing process

As Ane says, “This (time-lapse video) documents every minute of the three months it took me to reprint and translate “The Mark on the Wall” to 1828 A3 posters, setting it word by word with moveable type. The whole short story can be read on the door in the centre during two hours and 18 minutes.”

About Ane

Ane Thon Knutsen (b.1984) is a designer & artist living and working in Oslo, Norway. She specialized in letterpress printing and her artistic practice can be placed in-between graphic design, conceptual letterpress printing and performative presentations.

Ane is currently a PhD- candidate in Graphic Design at Oslo National Academy of The Arts. In the project A Printing Press of One´s Own, she is researching Virginia Woolf’s practice as a self taught typesetter and publisher through experimental graphic interpretations of the short story “The Mark on the Wall” (1917).

“The Mark on the Wall” installation in photos

Below are photos of her work on the exhibit that Ane shared with Blogging Woolf.

“900 massive meters of prints are up!” is the comment Ane included with this photo on her Facebook page on Jan. 18.

Read Full Post »

Virginia and Vita. Virginia and Leonard. Vanessa and Roger. Vanessa and Duncan. All four of those Bloomsbury couples are included in the exhibit “Modern Couples: Art, Intimacy and the Avant-garde” at The Barbican Art Gallery in London through Jan. 27, 2019.

According to promoters:

Modern Couples explores creative relationships, across painting, literature, sculpture, photography and design. Meet the artist couples that forged new ways of making art and of living and loving, from Frida Kahlo & Diego Rivera, Emilie Flöge & Gustav Klimt to Virginia Woolf & Vita Sackville-West.

Read Full Post »

A digital version of the original manuscript of Virginia Woolf’s groundbreaking polemic A Room of One’s Own (1928) is now online, thanks to the Fitzwilliam Museum in Cambridge, which is hosting the last stop on the tour of an exhibition that celebrates Woolf’s writing and art.

According to the BBC, curator Suzanne Reynolds calls Room, “one of the founding texts of 20th Century feminist thought.”

The free exhibition is titled “Virginia Woolf: An Exhibition Inspired by Her Writings,” opens tomorrow at the Fitzwilliam and runs through Dec. 9. It celebrates Woolf’s writing while showcasing the works of more than 80 artists on the themes of female identity, domesticity and landscape.

Cambridge is the third and final stop of the exhibition, which has traced a path of Woolf’s life from the Tate St Ives in Cornwall to Pallant House in Sussex.

 

Read Full Post »

Oh, to be in London next week! The book launch of From Omega to Charleston: The Art of Vanessa Bell and Duncan Grant 1910-1934 will take place at Hatchards Piccadilly, 187 Piccadilly, London, W1J 9LE, March 14.

A panel discussion with Piano Nobile will be held at 5 p.m.  The book launch is 6 – 8.30 p.m. Limited seating is available. RSVP by emailing events@hatchards.co.uk

About the book

Added below is information provided by the Virginia Woolf Society of Great Britain:

The book is published to accompany the exhibition From Omega to Charleston: The Art of Vanessa Bell and Duncan Grant, 1910-1934, this fully illustrated catalogue includes an essay and catalogue entries by Richard Shone (author of Bloomsbury Portraits (1993) and curator of The Art of Bloomsbury, Tate, (1999), the book explores the unique creative relationship shared by Bell and Grant through rarely seen works from private collections, some of which are reproduced for the first time, and a selection of loans from The Charleston Trust.

Famous Women Dinner Service

The second half of the publication focusses exclusively on The Famous Women Dinner Service. Begun in 1932 at the request of the art historian and director of the National Gallery Kenneth Clark and his wife Jane, these fifty plates were decorated with images of famous women through the ages, from Sappho to Greta Garbo.

Considered lost by art historians for nearly 40 years, the dinner service forms an impressive testament to Bell and Grant’s close working partnership. A ground-breaking essay by Hana Leaper is succeeded by closer scholarship dedicated to the individual plates. Produced in partnership with the Paul MellonCentre for Studies in British Art, this research is published in print for the first time.

The glorious catalogue is available for view on the Issuu website.

Read Full Post »

Lots of Woolf on the Web these days. Here are a few important sightings gleaned via Twitter links shared by Jane deGay and Maggie Humm.

  • Sentencing Orlando: Virginia Woolf and the Morphology of the Modernist Sentence, edited by Elsa Högberg and Amy Bromley, is a collection of 16 original essays offers fresh perspectives on Orlando through a unique attention to Woolf’s sentences.
  • Six Ways Virginia Woolf Pre-Empted Spring’s Key Looks,” by Kaye Fearon in British Vogue, Feb. 21, 2018.
  • Bonnie Greer on Virginia Woolf and the Bloomsbury Group, a podcast discussing the friendships, work and designs behind the artists, coordinated with the Virginia Woolf exhibition at Tate St Ives, 10 February – 29 April 2018. Then view her art walk below.

Read Full Post »

This post is reblogged from The Charleston Attic.

We visited the Courtauld Gallery’s display of items from the Omega Workshops. The Workshops operated in London between 1913 and 1919 under the directorship of Roger Fry, Vanessa Bell and Duncan Gra…

Source: From Patterned to Plain: A Visit to the Courtauld Gallery Exhibition on Omega Workshops | The Charleston Attic

Read Full Post »

Older Posts »

%d bloggers like this: