Episode 4 | Charleston: The Bloomsbury Muse | Duncan Grant The Hammock, Charleston, c.1921-22
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- čas přidán 7. 10. 2021
- For the midway point in our series, Philip delves into The Hammock, the monumental painting by Duncan Grant.
Bloomsbury academic Frances Partridge describes Charleston as a ‘comfortable hen’, which is epitomised in this painting, where the role of Charleston as family home is made apparent. Painted in the early 20s, Duncan’s family scene presents the private, personal, and peaceful home which was created at Charleston by both Vanessa and Duncan.
Here, we are given a view into that secret space with Vanessa as the central mother ‘…hen’ surrounded by her children, Angelica, Quentin, and Julian. Duncan adds the essence of work and play which Charleston facilitated, with the presence of both the family tutor in the foreground and a horse and trap in the background.
The present work is currently on display in our exhibition ‘Charleston: The Bloomsbury Muse’ until 10th November.
Painting on loan.
Images:
Fig 1: Lady Ottoline Morrel, Maria Huxley, Lytton Strachey, Duncan Grant and Vanessa Bell. Copyright The Charleston Trust.
Fig 2: Vanessa Bell in the garden at Charleston, c. 1920s. Copyright the Charleston Trust.
Fig 3: Quentin Bell, Angelica Garnett and Julian Bell.
Fig 4: Vanessa Bell cutting Lytton Strachey's hair, c.1920s. Copyright The Charleston Trust.
Fig 5: Quentin Bell.
Fig 6: Quentin Bell, 1981.
Fig 7: Vanessa, Quentin and Julian Bell. Copyright The Charleston Trust.
Fig 8: Julian Bell, with Clinker the dog, 1928.
Thankyou for showing so much beauty, to people who, like myself, would have never had such an opportunity.
Love this picture. A privilege to see it in the exhibition
The calm before the storm. Thanks for this series, I'm really enjoying it.
I was lucky enough to visit Frances Partridge in her flat in Eaton Mews, when she was in her late nineties. She died a month short of her 104th birthday. Her mind was still razor sharp and she was surrounded by some real treasures, including a wonderful portrait of Lytton Strachey by Dora Carrington, which is now in the National Portrait Gallery. She used to get meals delivered by her neighbour Anton Mossiman. What an amazing life.
Fab to hear.
How amazing Wilson.. I've read all her diaries/books... How lucky indeed to have been able to meet her..
I love Charleston farmhouse. I attended a soirée where the last surviving Bloomsbury (Partridge) lady was speaking. Memorable.
Superduper again Philip, keep 'em comin' please...Thanks so much x x
Yes Vanessa is clearly at the 'centre' of this 'world' and her almost 'huge' but beautiful hands - folded like birds' wings - seems to exemplify this - thanks for another marvellous few minutes Philip !
Part of what I love about paintings such as this is that it captures and celebrates the miracle of simplicity in everyday life that we mortals mostly take for granted. Fire need not be spewing from the subjects asses in order for them to be worthy of interest. Every moment that goes by will never be had again. That in itself makes all creation a perpetual miracle.
Fantastic, as always!
Serenity before the hell on the horizon.
I can't tell you how much I enjoy your appreciation of artists such as these. Many thanks.
Thanks again Philip! I learn something every time I tune in!
What a gorgeous painting. Reminds me of a friend who has a hammock in her garden. An amazing presentation based around the piece. I love the black and white photos and the views of the garden. I find it fascinating how so many people went to fight in the Spanish Civil War (another subject of interest to me). So sad so many lives were lost. Can hardly believe I will be seeing this exhibition next Friday. So excited.
Thanks you so much for generously sharing your knowledge and artworks and bringing them to life! I hope to visit the exhibition soon.
Beautiful..
"The Hammock" is very Stanley Spencer
Homage to Seurat ….
Would it have been a lot brighter when first painted? I always imagine the Charleston/Omega palette to be bright and breezy, would a good cleaning bring up the colours, or is it deliberately painted with a slightly subdued tone?
Yes a good clean would be beneficial
Very much appalled by the Luke Edwards Hall appropriation of the Bloomsbury intellectual substance by a derivative design carpetbagger.
Yes, beautiful and I LOVE it, but it is sooo class orientated, an English person I feel both proud and ashamed.
Middle class intelligentsia certainly - but nothing wrong with that. Charleston was rented from the gentry over the hedge (the Gages at Firle). The Bloomsbury Group was in many ways a definition of meritocracy. They were also distinctly unimpressed by mindless class attitudes. It’s why they were so socially progressive.