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Imag(in)ing the Pacific: modernist women artists

Journal Article


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Abstract


  • It was all very risque and, indeed quite shocking. Vanessa Stephen would marry Clive Bell,

    and make her name as an English modernist painter and designer; Virginia, would marry

    Leonard Woolf, and make her name at the vanguard of experimental English modernist

    literature. Virginia would be the more famous, or possibly, infamous, of the sisters, being

    the mover and shaker of the Bloomsbury Group - a nucleus of primarily male, primarily

    Oxbridge-educated intellectuals who began meeting regularly at the house of the sisters

    in Gordon Square, Bloomsbury, London, in the first decade of the 20th century. Here they

    discussed all things intellectual: nothing, recalled Virginia, absolutely nothing was banned

    as a subject of conversation - everything was 'up for grabs.' 3) It was indeed a very freeing

    moment that marked the shift from Victorian to Modem relationships between the sexes, a

    corresponding freedom of sexual relationship, of intellectual and professional possibility for

    women, and a freeing up of the rigid constraints of Victorian morality that had understood

    literature and art to be the vehicles of a patriarchal Christian morality.

Publication Date


  • 2013

Citation


  • Collett, A. A. (2013). Imag(in)ing the Pacific: modernist women artists. Pacific & American Studies, 13 (March), 49-62.

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1536&context=lhapapers

Ro Metadata Url


  • http://ro.uow.edu.au/lhapapers/531

Number Of Pages


  • 13

Start Page


  • 49

End Page


  • 62

Volume


  • 13

Issue


  • March

Abstract


  • It was all very risque and, indeed quite shocking. Vanessa Stephen would marry Clive Bell,

    and make her name as an English modernist painter and designer; Virginia, would marry

    Leonard Woolf, and make her name at the vanguard of experimental English modernist

    literature. Virginia would be the more famous, or possibly, infamous, of the sisters, being

    the mover and shaker of the Bloomsbury Group - a nucleus of primarily male, primarily

    Oxbridge-educated intellectuals who began meeting regularly at the house of the sisters

    in Gordon Square, Bloomsbury, London, in the first decade of the 20th century. Here they

    discussed all things intellectual: nothing, recalled Virginia, absolutely nothing was banned

    as a subject of conversation - everything was 'up for grabs.' 3) It was indeed a very freeing

    moment that marked the shift from Victorian to Modem relationships between the sexes, a

    corresponding freedom of sexual relationship, of intellectual and professional possibility for

    women, and a freeing up of the rigid constraints of Victorian morality that had understood

    literature and art to be the vehicles of a patriarchal Christian morality.

Publication Date


  • 2013

Citation


  • Collett, A. A. (2013). Imag(in)ing the Pacific: modernist women artists. Pacific & American Studies, 13 (March), 49-62.

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1536&context=lhapapers

Ro Metadata Url


  • http://ro.uow.edu.au/lhapapers/531

Number Of Pages


  • 13

Start Page


  • 49

End Page


  • 62

Volume


  • 13

Issue


  • March