L’envers du décor dans quelques tableaux des peintres du « Bloomsbury Group »
The aim of this paper is to investigate how a few works painted between 1910 and 1920 by the two main artists of the « Bloomsbury group » (Vanessa Bell and Duncan Grant) allude to or exhibit what is usually behind the scenes. They do so sometimes thematically thanks to the presence of curtains, wind...
Tallennettuna:
| Julkaisussa: | URI:https://journals.openedition.org/ebc, |
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| Päätekijä: | |
| Aineistotyyppi: | Article ou chapitre numérique |
| Kieli: | Français |
| Julkaistu: |
Études britanniques contemporaines
2019
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| Linkit: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Yhteenveto: | The aim of this paper is to investigate how a few works painted between 1910 and 1920 by the two main artists of the « Bloomsbury group » (Vanessa Bell and Duncan Grant) allude to or exhibit what is usually behind the scenes. They do so sometimes thematically thanks to the presence of curtains, windows and mirrors, sometimes technically when they show « painting in the making » and lay bare the materiality of painting and its intrinsic elements : bi-dimensionality, form and colour. Once in the limelight, however, these areas or patches of colour raise another question : do they testify to the influence of Roger Fry’s theories on Bell and Grant or do they allude to hidden secrets ? Or could the beholder be in fact confronted with « the ineluctable modality of the visible » ? |
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