By S. Rosenbaum
Georgian Bloomsbury completes the literary historical past of outdated Bloomsbury that started with Victorian Bloomsbury (1987) and endured with Edwardian Bloomsbury (1994). masking the years among the 1st Post-Impressionist Exhibition and the 1st international warfare, the e-book describes and analyzes interrelated literary works by way of Roger Fry, Desmond MacCarthy, Clive Bell, E.M. Forster, Lytton Strachey, Leonard Woolf, and Virginia Woolf. The works thought of contain fiction, feedback, essays, and polemics in addition to autobiography, journalism and literary historical past that individuals of the Bloomsbury staff wrote among 1910 and 1914.
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Additional resources for Georgian Bloomsbury: Volume 3: The Early Literary History of the Bloomsbury Group, 1910–1914
Fry y repeated to the son of Burne-Jones that his criticism was directed at the state endowment of only one standard of art, when there were clearly at least two, and that posterity would have to decide – as it indeed has – between, in Burne-Jones’s words, the ‘sordid ugliness and technical incompetence’ in the work of the post-impressionists and the ‘visions of beauty and incomparable mastery of materials’ in that of Alma-Tadema and his ilk (‘Tadema’, pp. 743–4). In the midst of the controversy Desmond MacCarthy devoted a milder New Witness article to Alma-Tadema, that showed how much Fry and Bell’s aesthetics were influencing him.
From the loss of his wife had come, Virginia Woolf said, a kind of recklessness along with ‘both his profound tolerance and also his intolerance – his instant response to whatever he found genuine, his resentment of what seemed to him false’ ((RF, pp. 117–18). Having turned his notes for the catalogue preface over to MacCarthy, Fry published his first comments on Manet and the Post-Impressionists in two articles for the Liberal Nation the month the exhibition opened. There he offered not so much a different approach to writing about art as an apologia with paradoxes.
134). Strachey’s aesthetics, as he demonstrated in various Apostle Papers, were based on Moore’s Principia Ethica (see Edwardian Bloomsbury, pp. 308–10 and Edwardian Bloomsbury, pp. 308–10). Strachey was interested in the literary content of pictures, not their significant forms. Vanessa Bell described to Roger Fry in 1916 a long discussion of art with Strachey in which she found his appreciations in both art and literature almost completely dramatic. ‘He is very suspicious of our attitude about art,’ she wrote, ‘and thinks we don’t understand our own feelings and are trying to prove a theory’ ((L, p.
Georgian Bloomsbury: Volume 3: The Early Literary History of the Bloomsbury Group, 1910–1914 by S. Rosenbaum