“Get scared. It will do you good. Smoke a bit, stare blankly at some ceilings, beat your head against some walls, refuse to see some people, paint and write. Get scared some more. Allow your little mind to do nothing but function. Stay inside, go out - I don’t care what you’ll do; but stay scared as hell. You will never be able to experience everything. So, please, do poetical justice to your soul and simply experience yourself.”
~ from Albert Camus, Notebooks: 1935-1951
This is my only New Year's Resolution for 2024. I'm not a smoker, so I will substitute coffee for that part. Occasionally absinthe.
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UPDATED:
(1) Selfie in front of Gallery Espresso on Chippewa Square in Savannah, Georgia
(2) My new tattoo on my left inner forearm (February 2024): “only connect,” the epigraph of Howards End by my favorite writer E.M. Forster, and really the theme of all his novels (including Maurice, my favorite novel). Typewriter font. Inked by James Tuck.
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Vanessa Bell (British-English, 1879-1961) • The Tub • 1917
Vanessa Bell was an English painter and interior designer and prominent member of the Bloomsbury Group in the early twentieth century. She focused on Post-Impressionism and Abstraction in her art. “The Tub”, painted in 1917, is an unusually large work that was originally intended for the garden room of her new house. However, it was never installed and remained folded up until its rediscovery during the Bloomsbury revival in the 1970s.In this captivating piece, Bell follows the tradition of several French painters, including Degas, Matisse, and Bonnard, who depicted women during their toilette. The painting predominantly features yellow ochre and a greenish grey color palette.
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This is me, talking about how the version of “Maurice” by E.M. Forster that D.H. Lawrence read (and from which he borrowed several major plot points for his novel “Lady Chatterley’s Lover”) is not the final version of “Maurice” that we have today (and even that is not the final version, because Forster wrote an additional chapter that he later excluded where Maurice and Alec run off and become lumberjacks together, proving that even stuffy academics in the Edwardian era had lumberjack fantasies).
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'It will be an odd life, but…it ought to be a good one for painting,' the artist Vanessa Bell said of Charleston, the Sussex farmhouse that in 1916 became a focal point for the Bloomsbury Group; that amorphous circle of writers, intellectuals and artists who lived and worked in Bloomsbury before the First World War and beyond.
Artist Vanessa Bell married art critic Clive Bell in 1907 and they had two sons, Julian (who died in 1937 during the Spanish Civil War at the age of 29 and Quentin (the artist and potter). The couple had an open marriage, both taking lovers throughout their lives. Bell had affairs with art critic Roger Fry and with the painter Duncan Grant, with whom she had a daughter, Angelica in 1918, whom Clive Bell raised as his own child.
Over the years, Charleston Farmhouse was home to not only Vanessa Bell, Duncan Grant, and their family but to their extended family, their friends, and their lovers.
In 1916, Vanessa Bell and Duncan Grant moved to the Charleston Farmhouse in Sussex. Living at the house along with Bell and Grant were her two sons Julian and Quentin and Grant’s friends and lover David Garnett. Due to both Grant and Garnett being conscientious objectors of the First World War, they needed to find work on a farm otherwise they would have gone to prison. Grant and Garnett were able to find work on a farm near the Charleston Farmhouse, so that is why they chose that location to live.
Almost as soon as Vanessa and Duncan moved into Charleston, they began to paint, not just on canvas, but over every available surface - walls, of course, but also tables, chairs, bedheads and bookcases; all glowed with swirls and spirals of colour and pattern, full of life and vitality, that was as far from the conservative, conventional interior decoration of the time as it was possible to be.
The writer Dorothy Parker is said to have quipped that the 'Bloomsbury paints in circles, lives in squares and loves in triangles.' A perfect summation when attempting to describe the beyond complicated living situation of Charleston's custodians.
'The house seems full of young people in very high spirits, laughing a great deal at their own jokes...lying about in the garden which is simply a dithering blaze of flowers and butterflies and apples,' wrote Vanessa in 1936. Indeed over the next sixty years the house would become a magnet for the intellectual avant-garde.
Sources: houseandgarden.co.uk, Wikipedia
Photo credit: Paul Massey
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