Virginia Woolf at the NPG

Novelist, essayist, biographer and critic, Virginia Woolf is the most famous and influential modernist prose writer of the 20th century. She occupied a central position within the Bloomsbury Group: that union of friends who helped rid art, design and society of the constrictions and conventions left over from the Victorian period. 

Frances Spalding 

Virginia Woolf: Art, Life and Vision at the National Portrait Gallery in London has been curated by Frances Spalding, an eminent art historian, author of several books relating to Bloomsbury and now of the NPG exhibition’s catalogue. She has selected more than 100 objects relevant to Woolf’s life including paintings, photographs, first editions of her novels and archival material such as correspondence and diaries. This material is mostly arranged chronologically but, unusually for a modern exhibition, there is no timeline presented at entry, although one taken from the catalogue is available on the NPG's website. Consequently, there is no context for the first images the visitor encounters: photographs of the devastating effect of the London blitz in 1940 on the Woolfs’ former Bloomsbury home, 52 Tavistock Square and on 37 Mecklenburgh Square where they were living at the time (when not at Monk’s House at Rodmell in Sussex). This was a year before Virginia’s death in 1941, the point at which the exhibition eventually ends.

Although their work is not universally admired for its quality, it cannot be denied that the painter members of the Bloomsbury Group, whether at Charleston Farmhouse or elsewhere, had no shortage of noteworthy subjects close at hand. Obviously this show concentrates on images of Virginia – I liked in particular Duncan Grant’s 1911 portrait and Vanessa Bell’s of 1912:

but Lytton Strachey,1904 by Simon Bussy, Mark Gertler’s Samuel Koteliansky, 1930 (below, left and right) and Vannessa Bell’s The Memoir Club c 1943 (below, lower) were all memorable (the Bloomsberries in this picture include both Bells and their son, Quentin, Leonard Woolf, the Keynes’s, EM Forster and Duncan Grant):

Among the many photographs of Virginia in the exhibition are the familiar 1902 society studies by GC Beresford, but more interesting to me were the Man Ray portrait (one of several, I believe, for a Time Magazine cover feature in April 1937), (below top, left and right) and some of the last to be taken of her, by Gisèle Freund in 1939, including one of Leonard and Virginia at 52 Tavistock Square (below, lower, left and right):

 It would be difficult to come away from this exhibition without seeing and learning something new. For example:

Virginia typeset TS Eliot’s The Waste Land (a copy is on display) during the period she and Leonard were living in Richmond-upon-Thames and had set up the Hogarth Press and Virginia was writing Mrs Dalloway. Lady Ottoline Morrell took a photograph of Eliot and Woolf (right) in 1924, the year the Woolfs returned to Bloomsbury.

Leonard and Virginia visited Sigmund Freud in Hampstead soon after his arrival from Vienna in June 1938.

Virginia was a Sponsor and Patron of the campaign led by Roland Penrose to exhibit Picasso’s Guernica and the studies for it, in London and elsewhere in late 1938/1939.

This exhibition should have a wide appeal: to admirers of Woolf’s writing, to those fascinated by the Bloomsbury Group – Dorothy Parker is said to have observed that 'Bloomsbury paints in circles, lives in squares, and loves in triangles' - and to anyone with an interest in 20th century British art. Virginia Woolf: Art, Life and Vision continues at the NPG until 26 October.

Post: as in Post-Impressionism

In his the friday column in yesterday’s Times 2 (3 December 2010) Richard Morrison set about debunking Virginia Woolf’s idea that December 1910 marked a significant moment in the history of human nature. There is no point in giving a link to an article behind The (London) Times’ paywall, but this extract gives the gist of Morrison’s opening argument:

“On or about December 1910,” Woolf wrote, “human character changed.” Relations shifted, she went on, between “masters and servants, husbands and wives, parents and children. And when human relations change there is at the same time a change in religion, conduct politics and literature.”

It says something about Woolf’s intellectual confidence – or perhaps her ignorance of what had been going on in Europe for the previous 30 years – that she was blithely able to identify a single month as the moment when civilisation went crazy. As we now know the Impressionists – who so dazzled Woolf and her Bloomsbury circle when Roger Fry organised his London show of their work in 1910 – had been around since the 1880s in Paris.

It says something about Morrison’s blithe self-confidence, and The Times’ standard of fact-checking, that he can get this wrong. It is certainly true that French Impressionism was not much liked by the Edwardians. In 1905 the first major show in England of French Impressionist paintings (300 works by Degas, Monet, Manet, Renoir etc) had been organised by the dealer Durand-Ruel. It had a poor press and few pictures were sold. Roger Fry (b1866), a leading British art critic, was known at the time for having little taste for Impressionism and to favour a return to the traditional techniques and structural design of the Renaissance. However, the show Fry organised in 1910, which was of course Manet and the Post-Impressionists, introduced London to Cezanne, van Gogh and Gauguin. Fry saw in their work a return to constructive design, but others were deeply shocked and even thought the show would destroy the fabric of European painting. The exhibition coincided with a Welsh miner’s strike, growing Suffragette violence and an accelerating naval arms race with Germany, all resonating with the public unease which it provoked.

Morrison goes on to suggest that Woolf's pinpointing one month is risible, but acknowledges that a lot changed between 1890 and 1920 (!).  He then asks whether digital technology and the internet are effecting a change in human affairs now “comparable to that seismic shift a century ago” – the one that he has just cast doubt on presumably. He doesn’t know at present, but we might do in 2024 – Woolf wrote her essay in 1924, you see.