Tag Archives: Vanessa Bell

Inspired by the Writings of Virginia Woolf

In the shopping street in Chichester there was bunting and a huge banner, a most populist way to advertise a very refined subject: VIRGINIA WOOLF: AN EXHIBITION INSPIRED BY HER WRITING. I was in Chichester to visit the Pallant House Gallery. I wanted to know what art had been inspired by one of the most important writers of the twentieth century. And to look at it.

The celebratory street presence of Virginia Woolf wasn’t the only thing that surprised me about the exhibition. After my first tour around the gallery I realised that I was experiencing a very strange sensation. This must be what it feels like to be a man, to have the world reflected back to you as you see it through men’s eyes. Most exhibitions, anyway. But here were 80 artists and every one of them was a woman. Everyone. I recognised the world they showed me, the faces, the landscapes, the portraits, the interiors, the conflicts. This was my territory.

This is what the organisers say about the exhibition:

Virginia Woolf: An exhibition inspired by her writings

A major exhibition featuring 80 female artists from 1854 to the present day, centred on the pioneering writings of celebrated author Virginia Woolf. Through a wide range of work by artists including Barbara Hepworth, Vanessa Bell, Gwen John, Eileen Agar, Claude Cahun and Louise Bourgois, the exhibition shows how Woolf’s perspectives on feminism and creativity have remained relevant to a community of creative women across time: visual artists working in photography, painting, sculpture and film who have sought to record the vast scope of female experience and to shape alternative ways for women to be.

You may be wondering how art and words go together, different art forms that use different media. I remind you that it was ballet that revealed so much about three of Virginia Woolf ‘s novels in WoolfWorks.

The ideas expressed by Virginia Woolf in her novels and essays found echoes and development in the art on display in this exhibition. Identity, what moulds it? What is its function? How is it different in public and private spaces? In what ways can and do women relate to landscape and to the ideas of home? What is it, to be a woman?

Some artists were already familiar: Laura Knight, Dora Carrington, Winifred Nicholson and others who often show us women and children in the landscape, an inhabited space where woman can now be as free as men always have been. Not confined by or limited to the home.

The portraits showed women experimenting with different ways of representing themselves to others in self-portraits and portraits. Gwen John’s confident, confronting self-portrait; Dod Proctor turned away from our gaze, and other portraits, especially of and by Vanessa Bell. In pride of place, almost an object of veneration, there was her portrait of Virginia Woolf among her books, writing, in her home. At the entrance to the show there was a working sketch for the pace setting for Virginia Woolf at Judy Chicago’s The Dinner Party.

There were more paintings of interiors, still lifes mostly, often with no people present. These often related the interior of the home through a window to the outside, or referred to the residents through their furnishings and belongings, or because it was a woman’s view. I want to find out more about Jane Simone Bussy. Her use of colour was subtle and very engaging.

Quotations reminded us how important a room of one’s own is, especially to women writers. And so there were the designs of household objects, fabrics, china and book covers by her sister and others.

You have won rooms of your own in the house hitherto exclusively owned by men.  … This freedom is only a beginning. With whom are you going to share it and on what terms? [from Professions for Women, an essay by Virginia Woolf published in 1931]

I am still thinking about what I saw, how magnificent Virginia Woolf was and how her influence is deep in me, and happily deep in our culture too. I have reviewed most of her novels on Bookword, by the way.

Congratulations to Laura Smith, who created the show for Tate St Ives, Pallant House Gallery, and the Fitzwilliam Museum in Cambridge.

Virginia Woolf: An exhibition inspired by her writings is at Pallant House Galleryuntil 16thSeptember 2018.

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Five great covers for five recommended novels

According to Charles Dickens, ‘There are books of which the backs and covers are by far the best parts.’ On the whole the best I expect is that a book’s cover does not detract from its contents. But some book covers enhance what lies inside. And a few are works of art on their own. In this post I celebrate some excellent covers together with links to my reviews of the books.

Grief is the thing with feathers by Max Porter

This short but lyrical novel plays with the idea that Crow, from the poems of Ted Hughes, comes to assist a family through their grief when the mother dies. Sometimes it is amusing, sometimes poignant, and everybody I know who has read it has been moved by it.

The sparseness and simplicity of the cover design exactly matches the book’s contents. The cover was designed in-house by Faber using an illustration by Eleanor Crow.

Grief is the thing with feathers by Max Porter, published in 2015 by Faber & Faber 114pp

To the Lighthouse by Virginia Woolf

Among its many achievements, this classic novel displays Virginia Woolf’s perceptiveness. Here is an example, as Mrs Ramsay concludes the book she reads to her youngest son James.

‘And that’s the end,’ she said. And she saw in his eyes, as the interest of the story dies away in them something else take its place; something wondering, pale, like a reflection of a light, which at once made him gaze and marvel. Turning, she looked across the bay, and there, sure enough, coming regularly across the waves first two quick strokes and then one long steady stroke, was the light of the Lighthouse. It had been lit. (71-2)

The cover of the first edition was by Vanessa Bell, Virginia Woolf’s sister. It was published by the Woolfs’ own Hogarth Press.

To The Lighthouse by Virginia Woolf (1927) published by the Hogarth Press. Available in the Penguin Modern Classics edition (1964) 237pp

The Sleeping Beauty by Elizabeth Taylor

Not a traditional fairy tale, but The Sleeping Beauty is the story of an awakening. The central characters are not in the first flush of youth but love manages to awaken them from inner deadness. It is set in a seaside backwater and begins with a dreamy walk along the cliff. This cover was an inspired choice for an early Virago edition. By Winifred Nicholson it is called The Gate to the Isles (Blue Gate) and was painted in 1980. It is on display at the Falmouth Gallery until mid-September.

Many readers find the more recent cover designs for Elizabeth Taylor’s novels insipid in contrast to the original Virago choices such as this one.

The Sleeping Beauty by Elizabeth Taylor was published in 1953, now available in the Virago Modern Classics series.

The Essex Serpent by Sarah Perry

It was the cover that first attracted me to this novel. Its intricate, dense and convoluted patterning of natural objects reflects the storyline. It was designed by Peter Dyer, with acknowledgement to William Morris. Morris was contemporaneous with the setting of the novel. It’s a mystery and an investigation about beliefs and science all at the same time.

The Essex Serpent by Sarah Perry, published in 2016 by Serpent’s Tail. 418pp

The Eagle of the Ninth by Rosemary Sutcliff

I reviewed this children’s classic recently accompanied by a photo of the cover of my copy. Many people commented on it, saying they had read it in a much drabber schools editions. This cover captures the rituals of the Seal people north of Roman Britain. It was also inspired by the mysteries and dark dangers of the ancient world. It is by C Walter Hodges.

The Eagle of the Ninth by Rosemary Sutcliff, first published in 1954 by Oxford University Press and still on their list.

Related post

Thinking about … Book Covers was a blogpost from January 2014, which includes more examples and links to archives etc.

A post from Louise Harnby’s blog The Proofreader’s Parlour: The Design Essentials: creating a stand-out book cover. Advice for authors. It draws on work for Salt Books that frequently have captivating covers.

Over to you

Do you have any covers to nominate as adding something to the book? Or is an exceptionally pleasing cover?

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Filed under Books, Elizabeth Taylor's novels, Reviews, Virginia Woolf