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'Bloomsbury in Sussex' looks at the furnishings, decorations and gardens of Charleston and Monks House and how they came to express the spirit of their creative and innovative occupants.
Set in the heart of the Sussex Downs, Charleston Farmhouse is the most important remaining example of Bloomsbury decorative style, created by the painters Vanessa Bell and Duncan Grant. Quentin Bell, the younger son of Clive and Vanessa Bell, and his daughter Virghinia Nicholson, tell the story of this unique house, linking it with some of the leading cultural figures who were invited there, including Vanessa's sister Virginia Woolf, the writer Lytton Strachey, the economist Maynard Keynes and the art critic Roger Fry. The house and garden are portrayed through Alen MacWeeney's atmostpheric photographs; pictures from Vanessa Bell's family album convey the flavour of the household in its heyday.
An in-depth study of how the famed Bloomsbury Group expressed their liberal philosophies and collective identity in visual form "[Fascinating and wide-ranging. . . . Will be enjoyed by both Bloomsbury aficionados and newcomers alike."--Lucinda Willan, V&A Magazine The Bloomsbury Group was a loose collective of forward-thinking writers, artists, and intellectuals in London, with Virginia Woolf, John Maynard Keynes, and E. M. Forster among its esteemed members. The group's works and radical beliefs, spanning literature, economics, politics, and non-normative relationships, changed the course of 20th-century culture and society. Although its members resisted definition, their art and dress imparted a coherent, distinctive group identity. Drawing on unpublished photographs and extensive new research, The Bloomsbury Look is the first in-depth analysis of how the Bloomsbury Group generated and broadcast its self-fashioned aesthetic. One chapter is dedicated to photography, which was essential to the group's visual narrative--from casual snapshots, to amateur studio portraits, to family albums. Others examine the Omega Workshops as a design center, and the evidence for its dress collections, spreading the Bloomsbury aesthetic to the general public. Finally, the book considers the group's extensive participation in 20th-century modernism as artists, models, curators, critics, and collectors.
"Contemporary photographs, paintings and surviving interiors, notably at Grant and Bell's Sussex farmhouse, Charleston, illustrate the remarkable creativity of the Bloomsbury domestic aesthetic."--BOOK JACKET.
"This volume comes as an addition to the extensive scholarship on the Bloomsbury Group. For the first time all the woodcuts, lithographs, etchings and other prints created by Vanessa Bell, Dora Carrington, Roger Fry and Duncan Grant are catalogued with numerous colour and black and white reproductions." "Carefully catalogued, and with most of the entries illustrated in either colour or in black and white (a number to the original size), this book provides a treasure trove for the large and enthusiastic audience keenly interested in the art and literature of the Bloomsbury Group. In addition, the catalogue is a valuable reference work for university and art historical libraries."--Jacket.
Throughout his working life, Duncan Grant experimented with a variety of styles and techniques, from commercial interior decoration to ceramics, print-making and theatre work, as well as easel painting and murals. The overall achievement of Grant's career in all its diversity is presented here.
Grace Higgens (1903-1983), described by Duncan Grant as "the angel of Charleston," arrived at the Gordon Square house of Vanessa Bell in June 1920. She was to remain with the family for 50 years as housemaid, nurse, cook, and finally housekeeper at Charleston, the country house in Sussex where the Bell family spent their holidays during the interwar period and then lived permanently until the 1970s. This book tells Grace's story for the first time and is based on her diaries and correspondence. Grace was high-spirited with a robust sense of fun; she read all she could and often sat for her painter employers, who much admired her looks. Her numerous diaries recount her years in Gordon Square, Charleston, and the South of France and their vivid picture of life with the Bells and their friends complement what we know of the "above stairs" world of the Bloomsbury set. With great humor, Grace describes the varied denizens of Charleston, such as Duncan Grant, Lydia Lopokova, Roger Fry, E. M. Forster, and, of course, Virginia Woolf: "I met Mr and Mrs Leonard Woolf, riding on their bicycles to Charleston. They looked absolute freaks." There are moving entries about the death of Vanessa Bell in 1961, and of Grace's final years at Charleston looking after the elderly Duncan Grant. This charming book describes a little-known side of the Bloomsbury world and illuminates a lost era of domestic service.