Vanessa Bell
"Studland Beach, Domesticity, and "Significant Form
Bibliographic Data
| ID | 3176273 |
|---|---|
| Authors | Lisa Tickner (corresponding author) |
| Year | 1999 |
| Volume | 65 |
| Pages | 63-92 |
| Publication date | 1999-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Representations (JOURNAL) |
| Journal identifiers | ISSN: 0734-6018 • E-ISSN: 1533-855X |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.2307/2902962 |
| OpenAlex | W1999970920 |
| Language | EN |
| Citations received | 4 |
| References cited | 9 |
VANESSA BELL'S STUDLAND BEACH (C. 1912) has been described its move towards abstraction ... [as] one of most radical works of time in England.' It is indeed a striking, spare, and reticent image, but not perhaps fully accountable in these terms. It belongs with a small body of paintings and photographs derived from Bell's trips to Studland, England, between 1909 and 1912. At same time it is clearly a studio picture, intended to have a particular status as a finished and radically simplified image: something that could be understood in terms of significant form, that is, in terms of an aesthetic purged of narrative, sentiment, or circumstantial detail. In what follows I shall look first at paintings, then at concept of significant form, then at the invention of beach, and finally at Bell's painting in context of Virginia Woolf's To Lighthouse, publishedin 1927
Art · Art history · Genealogy · Art, Politics, and Modernism · Caribbean history, culture, and politics · History · Modernist Literature and Criticism · Poetry Analysis and Criticism
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,18 |
| Citation span | 2004 - 2013 (10) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |