Bloomsbury and France

Art and Friends

Fiction & Literature, Literary Theory & Criticism, British, Nonfiction, History, Biography & Memoir, Literary
Cover of the book Bloomsbury and France by Mary Ann Caws, Sarah Bird Wright, Oxford University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Mary Ann Caws, Sarah Bird Wright ISBN: 9780199923632
Publisher: Oxford University Press Publication: December 2, 1999
Imprint: Oxford University Press Language: English
Author: Mary Ann Caws, Sarah Bird Wright
ISBN: 9780199923632
Publisher: Oxford University Press
Publication: December 2, 1999
Imprint: Oxford University Press
Language: English

"Bloomsbury on the Mediterranean," is how Vanessa Bell described France in a letter to her sister, Virginia Woolf. Remarking on the vivifying effect of Cassis, Woolf herself said, "I will take my mind out of its iron cage and let it swim.... Complete heaven, I think it." Yet until now there has never been a book that focused on the profound influence of France on the Bloomsbury group. In Bloomsbury and France: Art and Friends, Mary Ann Caws and Sarah Bird Wright reveal the crucial importance of the Bloomsbury group's frequent sojourns to France, the artists and writers they met there, and the liberating effect of the country itself. Drawing upon many previously unpublished letters, memoirs, and photographs, the book illuminates the artistic development of Virginia and Leonard Woolf, Clive Bell, David Garnett, E. M. Forster, Lytton Strachey, Dora Carrington, and others. The authors cover all aspects of the Bloomsbury experience in France, from the specific influence of French painting on the work of Roger Fry, Duncan Grant, and Vanessa Bell, to the heady atmosphere of the medieval Cistercian Abbaye de Pontigny, the celebrated meeting place of French intellectuals where Lytton Strachey, Julian Bell, and Charles Mauron mingled with writers and critics, to the relationships between the Bloomsbury group and Henri Matisse, Pablo Picasso, Gertrude Stein, Andre Gide, Jean Marchand, and many others. Caws and Wright argue that Bloomsbury would have been very different without France, that France was their anti-England, a culture in which their eccentricities and aesthetic experiments could flower. This remarkable study offers a rich new perspective on perhaps the most creative group of artists and friends in the 20th century.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

"Bloomsbury on the Mediterranean," is how Vanessa Bell described France in a letter to her sister, Virginia Woolf. Remarking on the vivifying effect of Cassis, Woolf herself said, "I will take my mind out of its iron cage and let it swim.... Complete heaven, I think it." Yet until now there has never been a book that focused on the profound influence of France on the Bloomsbury group. In Bloomsbury and France: Art and Friends, Mary Ann Caws and Sarah Bird Wright reveal the crucial importance of the Bloomsbury group's frequent sojourns to France, the artists and writers they met there, and the liberating effect of the country itself. Drawing upon many previously unpublished letters, memoirs, and photographs, the book illuminates the artistic development of Virginia and Leonard Woolf, Clive Bell, David Garnett, E. M. Forster, Lytton Strachey, Dora Carrington, and others. The authors cover all aspects of the Bloomsbury experience in France, from the specific influence of French painting on the work of Roger Fry, Duncan Grant, and Vanessa Bell, to the heady atmosphere of the medieval Cistercian Abbaye de Pontigny, the celebrated meeting place of French intellectuals where Lytton Strachey, Julian Bell, and Charles Mauron mingled with writers and critics, to the relationships between the Bloomsbury group and Henri Matisse, Pablo Picasso, Gertrude Stein, Andre Gide, Jean Marchand, and many others. Caws and Wright argue that Bloomsbury would have been very different without France, that France was their anti-England, a culture in which their eccentricities and aesthetic experiments could flower. This remarkable study offers a rich new perspective on perhaps the most creative group of artists and friends in the 20th century.

More books from Oxford University Press

Cover of the book Singular and Plural by Mary Ann Caws, Sarah Bird Wright
Cover of the book Value-Free Science by Mary Ann Caws, Sarah Bird Wright
Cover of the book A Historical Guide to Mark Twain by Mary Ann Caws, Sarah Bird Wright
Cover of the book The Color of Welfare by Mary Ann Caws, Sarah Bird Wright
Cover of the book Dispossessing the Wilderness by Mary Ann Caws, Sarah Bird Wright
Cover of the book Enrique Granados by Mary Ann Caws, Sarah Bird Wright
Cover of the book Kant on Evil, Self-Deception, and Moral Reform by Mary Ann Caws, Sarah Bird Wright
Cover of the book Getting Even by Mary Ann Caws, Sarah Bird Wright
Cover of the book Un-American Activities by Mary Ann Caws, Sarah Bird Wright
Cover of the book When Aseneth Met Joseph by Mary Ann Caws, Sarah Bird Wright
Cover of the book Commissioning Ideas by Mary Ann Caws, Sarah Bird Wright
Cover of the book Intimate Partner Violence: Oxford Bibliographies Online Research Guide by Mary Ann Caws, Sarah Bird Wright
Cover of the book A Space for Race by Mary Ann Caws, Sarah Bird Wright
Cover of the book Conservation Biology by Mary Ann Caws, Sarah Bird Wright
Cover of the book Norms in the Wild by Mary Ann Caws, Sarah Bird Wright
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy