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Rezensionen (6)
The Art of Dora Carrington, Hill, Jane, Good Used Book
07. Apr 2016
WORTH IT FOR THE PICTURES ALONE
This book is probably the main chance most of us have of seeing much of Carrington's work, and on that grounds alone it deserves five stars.
There are 24 colour plates, 23 of them of her paintings and one of them of a desk that she painted.(I.e. she painted the desk itself and we see a photo of the desk). She was not that prolific an artist, so you're getting most if not all of her paintings that have come down to us. There are also many black and white images of pen sketches and of photos, which of course were in black and white. Sometimes the same painting is shown in both colour and black and white, rather pointlessly.
If you're not certain about her work then search for her on Ebay here in the UK: firms that print images to canvas by order sell her paintings and you can see some of her work there or via the links that will probably appear at the bottom of the Ebay page.(Today Ebay has Tidmarsh Mill and Julia Strachey, for example).
For more information on Carrington, search for "Carrington - a life Dora Carrington, 1893-1932" by Gretchen Gerzina on amazon and look for the excellent review by Kate Hopkins.
The text of this book is detailed and informative. As usual with the Bloomsburies, though, no one book tells the whole story. (Some people consider that Carrington was not a "real" Bloomsbury, others that there was an inner and an outer circle, and that she was at least in the outer circle). She lived with (and for) Lytton Strachey, who was definitely an inner circle Bloomsbury, so as far as I can see she qualifies.
Here's a nugget of information about Carrington that I've not seen in print, which I heard when I visited Charleston, Vanessa Bell's home in Sussex (near Monk's House in Rodwell where Virginia Woolf lived, so you can easily visit both in one day). Carrington walked over the downs to Charleston, and when she got there she said brightly that it smelt like a rat had died under the floorboards. The inner circle Bloomsburies were all really pissed off. It might have been incidents like this that lead to Carrington not being as welcome as she might have been to the inner circle Bloomsburies, (though the Virginia Woolf industry is careful to do what it can to present Virginia as likeable).
I'm far from expert on art but I wonder if Carrington would be better known if her work was easier to categorise. Much of her work is representational, (i.e. just painting things as they are) with only a very slight surreal touch - the impossibly long fingers of Lytton Strachey on the cover image of this book, for example, or the small black swan in her painting of the mill.
Often with Bloomsbury we respond to the life of the artist as well as their art, and Carrington is no exception. I so much wish that she had believed in herself more. She seemed to see herself above all as an enabler for Lytton Strachey, who she considered as a far superior talent to herself - yet who nowadays rates Strachey highly? I'm sure I'm not alone in simply giving up on his "Eminent Victorians", yet Carrington's work is fresh as when it was new painted. There is also the tragedy of her suicide. Nowadays she would probably take drugs in the prozac family and live to a ripe and productive old age.
This book does not tell us what the Bloomsburies wrote about Carrington after her suicide, but if you track it down elsewhere perhaps you'll agree that they were pretty callous, not least Virginia Woolf who was to follow Carrington's example not so much later.
PS For a long time it was not known where Carrington's ashes were buried but according to wiki her ashes were buried under the laurel trees at Ham Spray.
08. Apr 2016
WORTH IT FOR THE PICTURES ALONE
This book is probably the main chance most of us have of seeing much of Carrington's work, and on that grounds alone it deserves five stars.
There are 24 colour plates, 23 of them of her paintings and one of them of a desk that she painted.(I.e. she painted the desk itself and we see a photo of the desk). She was not that prolific an artist, so you're getting most if not all of her paintings that have come down to us. There are also many black and white images of pen sketches and of photos, which of course were in black and white. Sometimes the same painting is shown in both colour and black and white, rather pointlessly.
If you're not certain about her work then search for her on Ebay here in the UK: firms that print images to canvas by order sell her paintings and you can see some of her work there or via the links that will probably appear at the bottom of the Ebay page.(Today Ebay has Tidmarsh Mill and Julia Strachey, for example).
For more information on Carrington, search for "Carrington - a life Dora Carrington, 1893-1932" by Gretchen Gerzina here on amazon here in the UK and look for the excellent review by Kate Hopkins.
The text of this book is detailed and informative. As usual with the Bloomsburies, though, no one book tells the whole story. (Some people consider that Carrington was not a "real" Bloomsbury, others that there was an inner and an outer circle, and that she was at least in the outer circle). She lived with (and for) Lytton Strachey, who was definitely an inner circle Bloomsbury, so as far as I can see she qualifies.
Here's a nugget of information about Carrington that I've not seen in print, which I heard when I visited Charleston, Vanessa Bell's home in Sussex (near Monk's House in Rodwell where Virginia Woolf lived, so you can easily visit both in one day). Carrington walked over the downs to Charleston, and when she got there she said brightly that it smelt like a rat had died under the floorboards. The inner circle Bloomsburies were all really pissed off. It might have been incidents like this that lead to Carrington not being as welcome as she might have been to the inner circle Bloomsburies, (though the Virginia Woolf industry is careful to do what it can to present Virginia as likeable).
I'm far from expert on art but I wonder if Carrington would be better known if her work was easier to categorise. Much of her work is representational, (i.e. just painting things as they are) with only a very slight surreal touch - the impossibly long fingers of Lytton Strachey on the cover image of this book, for example, or the small black swan in her painting of the mill.
Often with Bloomsbury we respond to the life of the artist as well as their art, and Carrington is no exception. I so much wish that she had believed in herself more. She seemed to see herself above all as an enabler for Lytton Strachey, who she considered as a far superior talent to herself - yet who nowadays rates Strachey highly? I'm sure I'm not alone in simply giving up on his "Eminent Victorians", yet Carrington's work is fresh as when it was new painted. There is also the tragedy of her suicide. Nowadays she would probably take drugs in the prozac family and live to a ripe and productive old age.
This book does not tell us what the Bloomsburies wrote about Carrington after her suicide, but if you track it down elsewhere perhaps you'll agree that they were pretty callous, not least Virginia Woolf who was to follow Carrington's example not so much later.
PS For a long time it was not known where Carrington's ashes were buried but according to wiki her ashes were buried under the laurel trees at Ham Spray.
01. Feb 2021
SEEDS ARRIVED PROMPTLY
In shiny paper packets which should keep most moisture out. Too early to say if they will grow, but this company seems to supply old-fashioned varieties that have been grown for many years (e.g. Boltary beetroot, Alicante tomato) which they are generally good value and reliable.