History
In 1916 the artists Vanessa Bell and Duncan Grant moved to Sussex with their unconventional household. Over the following half century Charleston became the country meeting place for the group of artists, writers and intellectuals known as Bloomsbury. Clive Bell, David Garnett and Maynard Keynes lived at Charleston for considerable periods; Virginia and Leonard Woolf, E.M. Forster, Lytton Strachey and Roger Fry were frequent visitors. Inspired by Italian fresco painting and the Post-Impressionists, the artists decorated the walls, doors and furniture at Charleston. The walled garden was redesigned in a style reminiscent of southern Europe, with mosaics, box hedges, gravel pathways and ponds, but with a touch of Bloomsbury humour in the placing of the statuary.
"It's most lovely, very solid and simple, with...perfectly flat windows and wonderful tiled roofs. The pond is most beautiful, with a willow at one side and a stone or flint wall edging it all round the garden part, and a little lawn sloping down to it, with formal bushes on it." — Vanessa Bell
The rooms on show form a complete example of the decorative art of the Bloomsbury artists: murals, painted furniture, ceramics, objects from the Omega Workshops, paintings and textiles. The collection includes work by Auguste Renoir, Picasso, Derain, Matthew Smith, Sickert, Tomlin and Eugène Delacroix.
Read more about this topic: Charleston Farmhouse
Famous quotes containing the word history:
“The only thing worse than a liar is a liar that’s also a hypocrite!
There are only two great currents in the history of mankind: the baseness which makes conservatives and the envy which makes revolutionaries.”
—Edmond De Goncourt (1822–1896)
“The true theater of history is therefore the temperate zone.”
—Georg Wilhelm Friedrich Hegel (1770–1831)
“Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.”
—Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)