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Literature Cambridge will hold two immersive summer courses on Virginia Woolf in July 2017 at A Room of One's OwnHomerton College, Cambridge. Each will include lectures, supervisions, and excursions.

Woolf’s Rooms

Woolf’’s Rooms will be held Sunday 16 July to Friday 21 July 2017. This five days of immersion in Woolf will include lectures by Gillian Beer, Jane Potter, Alison Hennegan, Trudi Tate, and Claire Nicholson.

Works to be studied include A Room of One’s Own, Jacob’s Room, The Waves, To the Lighthouse, and Between the Acts. We will spend a day on each book with a lecture and supervision, with further opportunities for participants to discuss the works with fellow students, visit places important to Woolf, and do more reading on your own.

Reading Bloomsbury

Reading Bloomsbury will be held Sunday 23 July to Friday 28 July 2017. Lectures
on Vanessa Bell, Virginia Woolf, Maynard Keynes, Lytton Strachey, and Leonard Woolf will be given by Frances Spalding, Alison Hennegan, Trudi Tate, Claudia Tobin (tbc) and Claire Nicholson.

The course will include lectures, supervisions, and excursions, such as a trip to Bloomsbury with an expert guide and a visit to the lovely Orchard Tea Room at Grantchester.

More about the courses

Courses start early Sunday evening, so students are advised to arrive in Cambridge by early afternoon. The courses finish late Friday evening with a formal dinner. Departure is Saturday morning.

The courses aim to complement one another without overlapping. Students are welcome to enroll for either or both. They are advised to book early if they wish to attend both courses and require Homerton accommodation for the Saturday night between the two courses.

Early booking

A discounted price is available up to 16 December 2016. After that date, members of the Virginia Woolf Society of Great Britain can still get a special discount.

For more information and links for booking visit Literature Cambridge website or Facebook page. Questions: Email info@literaturecambridge.co.uk

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Prompted by a collection of drawings and sketches found inside a thin blue cardboard folder labelled ‘Berwick Church’ (CHA/P/603), this week’s blog article examines some of Duncan Grant’s pre…

Source: Berwick Church murals – preliminary sketches by Duncan Grant

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Interns at Charleston blog regularly. Here is their latest post, discussing their discovery of several items in the archives that indicate an interest on the part of Bloomsbury in Matisse and his career.

In August, the curatorial team began cataloguing the larger works on paper and canvas of the Angelica Garnett Gift. The discovery of a dynamic pencil drawing depicting four frantically moving figur…

Source: Duncan Grant and Henri Matisse | The Charleston Attic

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Wandering around Bloomsbury on my first day in London this June, I happened upon the Morton Hotel.

I wasn’t exactly looking for it. But Ann Martin of the University of Saskatchewan had planted the name in my mind with an offhand comment at this year’s Woolf conference. Upon hearing that I would be alone in the capital city for a few days, she remarked, “You could have tea at the Morton.”

And so I did. I had written about tea at the Morton before — back in 2014 — but I had forgotten the details. Consequently, my afternoon relaxing in the hotel’s Library bar and lounge was full of a series of lovely surprises, all with a Bloomsbury touch.

I chose a seat in front of the fireplace, where I set in for a good read as well as refreshment. I relaxed with a selection of books about Bloomsbury laid out on a sofa table and the Morton’s traditional afternoon tea, which is truly lovely and reasonably priced at £15. It included a tiered dish of tiny crustless sandwiches, pastries and fresh fruit, along with scones served with jam and clotted cream.

All around me — from entry to ladies room — were photo collages of Bloomsbury figures as well as reproductions of art by the Bloomsbury group and Hogarth Press book covers designed by Vanessa Bell.

Next time you’re in London, take tea at the Morton. It’s open 11 a.m. to 10:30 p.m., Monday through Sunday. Meanwhile, take a look at what you’ll find.

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Entry to the Morton Hotel, 2 Woburn Place, in Russell Square

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The chandelier in the entryway features Hogarth Press book covers.

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Once inside the entry, look to your left and “take the lift to the basement.”

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The cozy sitting area in front of the fireplace, my chosen spot.

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Books ranging from Bloomsbury Rooms to Bloomsbury Portraits are available for browsing.

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Traditional afternoon tea: as delicious as it looks.

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Collages of Bloomsbury photos decorate the walls.

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This sitting area nestled into a corner featured art by Vanessa Bell.

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Even the hallway to the ladies room — as well as the ladies itself — was decorated with Bloomsbury art.

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Here’s a blog post from the Charleston Attic about children, creativity and Bloomsbury.

“This week’s discovery of a child’s drawing in the Gift can be seen to reveal more about the children of Bloomsbury and their involvement in the creative practises of the household.”

Read the entire post: Angelica in the Studio

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Hamnett illustration

Nina Hamnett illustration of an Omega interior for Roger Fry’s The Artist as Decorator 1917. Copyright The Courtauld Gallery.

 

David Herbert’s newly opened exhibition A Room of Their Own: Lost Bloomsbury Interiors 1914-30 at the Victoria Art Gallery in Bath, England brings together rarely seen pieces of fine and decorative art to suggest the essence of lost Bloomsbury spaces.

The exhibition works from illustrations and photographs to recreate lost interiors that have been destroyed due to changing tastes and fashions. In this small gallery, nestled on the River Avon in the centre of Bath, Bloomsbury pieces are brought back together providing a springboard from which to visualise oneself eating breakfast or listening to music, as Virginia Woolf would have done, in a Bloomsbury room.

Opening with three portraits of the co-founders of the Omega Workshops, Roger Fry, Vanessa Bell, and Duncan Grant, the exhibition then leads into the first “room” which recreates the style of Fry’s 1917 Omega interior design for The Artist as Decorator, illustrated for Colour Magazine by Nina Hamnett. The bold abstraction typical of the early Omega workshop style is felt here and one can imagine how impressive the original space must have been. Of particular interest is a Lily Pond design screen by Duncan Grant which is radiant, hinting at the brightness of colour originally intended.  A lovingly worn geometric painted table also sits in front of the fire place which is dressed exactly how Hamnett depicted it in her 1917 illustration.

DG tulips

Duncan Grant, unfinished work Tulips in a Vase 1914.

The exhibition is particularly strong in its comparison of decorative and fine art and its consideration of the relationship between the two. Duncan Grant’s Cat on a Cabbage design for a cross-stitch chair seat sits next to his painting The White Jug and shows his use and exploration of abstraction across forms. His unfinished painting Tulips in a Vase also provides a rare glimpse into his process as a painter and leaves the bare skeleton sketch of the design uncovered, half way through building up colour and shape in paint.

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Vanessa Bell Adam and Eve design fan hung with figurative sketches.

There are also rarely seen works by Vanessa Bell, including her painting Vase, Hat and Flowers and a fan vibrantly painted in her Adam and Eve design. Here the Omega interest in clothing and accessories is hinted at. Well-known Omega fabric designs also fall down the walls and over chairs giving an impression of how textiles were an important medium at the Omega. Indeed, such an exhibition as A Room of Their Own which brings together the fine and decorative arts, hanging them side by side, succeeds in representing the Omega Workshops’ “wider aesthetic project of proclaiming modernism as an overall experience”1.

Omega Showcase

Display case with Duncan Grant’s Grapes fabric design glimpsed in the background.

The exhibition moves through later designs to an impression of Dorothy Wellesley’s dining room at her Sussex home, Penns-in-the-Rocks, created by Vanessa Bell and Duncan Grant in 1929. Here the colours have turned more towards elegant pastels and the wall panels depict classically influenced scenes such as a jug on a plinth and three nude bathers. Finally there is a nod to Charleston, a fantastic black three-fold screen designed by Duncan Grant and embroidered by Ethel Grant, and photographs of Duncan Grant in the studio at Charleston in 1974. Thus we see the progression of Bloomsbury style and the range of moods that it encompassed.

Other notable highlights are a Vanessa Bell teapot painted for her sister Virginia Woolf, Roger Fry’s abstract marquetry giraffe design cabinet, and a rare example of painted furniture by Dora Carrington.

A Room of Their Own: Lost Bloomsbury Interiors 1914-30 at the Victoria Art Gallery in Bath, England runs until 4 September, 2016.

1Koppen, R.S. (2009), Virginia Woolf, Fashion, and Literary Modernity, Edinburgh: Edinburgh University Press.

 

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Produced by BBC TV, this 1970 documentary, Virginia Woolf: A Night’s Darkness, A Day’s Sail, was unavailable for years but is now posted on YouTube.

It is a gem, including footage of Talland House, the Stephen family’s summer home, and Godrevy Lighthouse. It also includes interviews with Leonard Woolf (from 1967), Angelica Garnett, Quentin Bell, George Rylands, Elizabeth Bowen, Duncan Grant, Benedict Nicolson, Lord David Cecil, Dame Janet Vaughn, Raymond Mortimer, and Louie Mayer (the Woolfs’ cook at Monk’s House). They talk about Woolf’s character traits, as well as her genius, her writing habits and her love of London. And they discuss the Bloomsbury Group.

Portions of Mrs. Dalloway (1925), To the Lighthouse (1927) and A Room of One’s Own (1929) are also read on camera. And you’ll see the actual Hogarth press.

She always asked everybody, ‘What did you have for breakfast.’ – Angelica Garnett

 

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