Bloomsbury or the Art of Disinterestedness
The theoretical positioning and artistic production of Roger Fry, Duncan Grant and Vanessa Bell have always puzzled the critics and art historians who have found them not to square with the accepted great narrative of Modern art. Advocating both the autonomization of art, a revolt against philistini...
Gorde:
| Argitaratua izan da: | URI:https://journals.openedition.org/cve, |
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| Egile nagusia: | |
| Formatua: | Article ou chapitre numérique |
| Hizkuntza: | Anglais |
| Argitaratua: |
Cahiers victoriens et édouardiens
2024
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| Sarrera elektronikoa: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Gaia: | The theoretical positioning and artistic production of Roger Fry, Duncan Grant and Vanessa Bell have always puzzled the critics and art historians who have found them not to square with the accepted great narrative of Modern art. Advocating both the autonomization of art, a revolt against philistinism and a return to the purity of emotion they were among the first to experiment with abstraction and yet were also inspired by more conventional genres. However it is their contradictions that may in fact prove most fruitful if one wants to understand the impact of Post-impressionism in Britain. |
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