A profile of the work of Vanessa Bell and Duncan Grant.

The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.

The word Bloomsbury most often summons the novels of Virginia Woolf and E. M. Forster or images of artists and intellectuals debating the hot parlor topics of 1910s and 1920s London: literary aesthetics, agnosticism, defining truth and goodness, and the ideas of Bertrand Russell, A. N. Whitehead, and G. E. Moore. But the Bloomsbury Group also played a prominent role in the development of modernist painting in Britain. The work of artists Vanessa Bell, Duncan Grant, Roger Fry, and their colleagues was often audacious and experimental, and proved to be one of the key influences on twentieth-century British art and design. This catalogue, published to accompany a major international exhibition of the Bloomsbury painters originating at the Tate Gallery in London and traveling to the Yale Center for British Art and the Huntington Art Gallery, provides a new look at the visual side of a movement that is more generally known for its literary production. It traces the artists' development over several decades and assesses their contribution to modernism. Catalogue entries on two hundred works, all illustrated in color, bring out the chief characteristics of Bloomsbury painting--domestic, contemplative, sensuous, and essentially pacific. These are seen in landscapes, portraits, and still lifes set in London, Sussex, and the South of France, as well as in the abstract painting and applied art that placed these artists at the forefront of the avant-garde before the First World War. Portraits of family and friends--from Virginia Woolf and Maynard Keynes to Aldous Huxley and Edith Sitwell--highlight the cultural and social setting of the group. Essays by leading scholars provide further insights into the works and the changing critical reaction to them, exploring friendships and relationships both within and outside of Bloomsbury, as well as the movement's wider social, economic, and political background. With beautiful illustrations and a highly accessible text, this catalogue represents a unique look at this fascinating artistic enclave. In addition to the editor, the contributors are James Beechey and Richard Morphet. Exhibition Schedule: ? The Tate Gallery, London November 4, 1999-January 30, 2000 The Huntington Library, Art Collections, and Botanical Gardens San Marino, California The Yale Center for British Art New Haven, Connecticut May 20-September 2, 2000

Photographs, some barely known, on the domestic lives of Virginia Woolf (1882-1941) and Vanessa Bell (1879-1961) and the historical, cultural and artistic milieux of their circle in Bloomsbury, including Vivienne Eliot, Vita Sackville-West, Lady Ottoline Morrell and Dora Carrington.

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.

All royalties, a minimum of £2.50 from the sale of each book, will be paid to NHS Charities Together (registered charity no. 1186569) to fund vital projects. When the UK went into lockdown in March 2020 to contain the spread of the Covid-19 virus, artist Tom Croft offered to paint an NHS key worker's portrait for free. Unsure how to help and offer his support, he wanted to capture and record the bravery and heroism of frontline workers who were risking their physical and mental health for our wellbeing. Tom suggested that other artists might want to do the same. He made his offer via video message on Instagram and was immediately contacted by Harriet Durkin, a nurse at the Manchester Royal Infirmary, who had contracted Covid-19 and, now recovered, was about to return to the frontline. Tom's portrait of Harriet, wearing PPE, was the first in what became a global art project. The response to the initiative was staggering and Tom personally paired up 500 artists and NHS workers in the first two weeks. When numbers reached the thousands, Tom set up a traffic light system so that artists and frontline workers could match themselves. Portraits in all mediums followed, from oils to pencil, sculpture to ceramic, mosaic to mural. This book presents a selection of these remarkable images. Some are by leading artists such as Alastair Adams and Mary Jane Ansell, and they are showcased here as both a celebration and a remembrance, in physical form, of the dedication of our NHS key workers. 'I just couldn't imagine what it must be like to have to put on your PPE and head into the frontline of the pandemic, so I wanted to try and thank NHS workers in some small way. We are indebted to them, so to be able to commemorate, celebrate and record their experiences through portraiture felt fitting. This collection will stand as a permanent record of their bravery in a time of national crisis.' Tom Croft

At the beginning of the twentieth century, the Bloomsbury Group transformed British culture with their innovative approach to art, design and society. In this book Frances Spalding presents over twenty fascinating biographies, all of which are illustrated with paintings and intimate photographs created by members of the group.

The Handbook to the Bloomsbury Group is the most comprehensive available survey of contemporary scholarship on the Bloomsbury Group – the set of influential writers, artists and thinkers whose members included Virginia Woolf, Leonard Woolf, E.M. Forster, John Maynard Keynes, Vanessa Bell, Clive Bell, Duncan Grant and David Garnett. With chapters written by world leading scholars in the field, the book explores novel avenues of thinking about these pivotal figures and their works opened up by the new modernist studies. It brings together overview essays with detailed illustrative case studies, and covers topics as diverse as feminism, sexuality, empire, philosophy, class, nature and the arts. Setting the agenda for future study of Bloomsbury, this is an essential resource for scholars of 20th-century modernist culture.

In Bloomsbury Recalled, Quentin Bell has written an extraordinary memoir of the circle of intellectuals in London early in this century know as the Bloomsbury group. Bell offers remarkable judgments about and recollections of each of the notable people among whom he came of age. Here are Bell's candid portraits of his parents, Clive and Vanessa Bell - Virginia Woolf's sister - Vanessa's lover, Duncan Grant, and of Virginia Woolf, Lytton Strachey, E. M. Forster, John Maynard Keynes, Roger Fry, Ottoline Morrell, and others who frequented Gordon Square in Bloomsbury and Charleston, the Bells' country place in Sussex. The stories of this enchanting extended family, the private lives of these public figures, have all the magic and intrigue of the best novels of the day. Bloomsbury Recalled, in the expansive storytelling tradition of the early modernists, re-creates the captivating theater of events that was Bloomsbury.