Displays

Goodwin, Craufurd D.
History of political economy, 2011-04, Vol.43 (1), p.59-82

Explores the dynamic intellectual and artistic collective known as the Bloomsbury Group, focusing on their collaborative ethos and shared values. It examines how this group of writers, artists, and thinkers, including figures like Virginia Woolf and John Maynard Keynes, fostered creativity through their interconnected relationships and mutual influence. The article highlights the group's impact on literature, art, and social thought, framing them as a model of interdisciplinary and communal innovation in the early 20th century.

Smith, Martin Ferguson
The British art journal, 2019-10, Vol.20 (2), p.72-77


From 1 to 29 Sep 1911 Vanessa and Clive Bell and their children stayed in Studland on the coast of Dorset. They had stayed there three times before--in Sep 1909, March-April 1910, and Sep-Oct 1910. On all four occasions Virginia Stephen too stayed in Studland, although only on the second of them, when her mental state was shaky and the Bells took her away for a break, did she stay in the same house. Here, Smith described how Vanessa Bell and Roger Fry had fallen in love during a visit to Turkey with Clive Bell and Harry Norton in the spring of 1911. On their return to England, Vanessa and Roger saw one another as often as they could, but not as often as they wished. The existence of photography by Roger and photographs taken at Studland of Roger and Vanessa in the nude is discussed.

Upchurch, Anna
International journal of cultural policy : CP, 2004-07, Vol.10 (2), p.203-217


The article examines the origins of the arts council movement in the ideas of the Bloomsbury Group and John Maynard Keynes. The Bloomsbury Groups' sense of experimentation and flexibility, their willingness to take action to create new institutions, and their distrust of bureaucracy, influenced Keynes's development of a new model for state patronage of the arts in 1946. He took an organization established during the Second World War to employ artists and organize morale-boosting tours of the performing and visual arts, and oversaw its development into the Arts Council of Great Britain, the first such arts council.

Joyce, Simon
Victorian studies, 2004-06, Vol.46 (4), p.631-654

With the turn into a new century and millennium, a number of critical texts have offered up a reexamination of the defining characteristics and legacies of the Victorian period. Joyce points out the irony that people seem only to be able to restore to the Victorians a sense of their heterogeneity by asserting and denigrating a monolithic "Bloomsbury" outlook, one that flies in the face of the Group's own repeated denials of a collective viewpoint and also--not incidentally--looks very much like another instance of Bloomian anxiety.

Howells, Richard
Tuhinga, 2020-06 (31), p.5-18

Investigates the adoption of transfer lithography as a printmaking process in the 1920s by Bloomsbury artist and critic Roger Fry (1866–1934). Locates Fry’s use of the medium within the context of Bloomsbury innovation before the Second World War, placing more emphasis on technique than taste.

Sohaili, Vajdon
British art studies, 2016-11 (4)

Originally installed as a mural in the London Borough Polytechnic, Duncan Grant’s Bathing (1911) provoked anxieties that it would lead to the moral decay of working-class youth. Employing critical theory, this article finds the root of those anxieties in the painting’s linkage of naked homosociality to a subtle but pervasive figuration of desire, which Grant constructs via a sophisticated design programme.