Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice
Roger Fry's historic exhibition of 1910, "Manet and the Post-Impressionists", was a defining moment in avant-garde aesthetics, marking European modernism's revolutionary impact on the practices of British artists. But it also marked the start of British formalist theorists' influence on the critical...
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| Lenguaje: | español |
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Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana
1999
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| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=193800 |
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| _version_ | 1879224614673973248 |
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| author | Goldman, Jane |
| author_browse | Goldman, Jane |
| author_facet | Goldman, Jane |
| author_sort | Goldman, Jane |
| building | Dialnet |
| collection | Acceso abierto |
| description | Roger Fry's historic exhibition of 1910, "Manet and the Post-Impressionists", was a defining moment in avant-garde aesthetics, marking European modernism's revolutionary impact on the practices of British artists. But it also marked the start of British formalist theorists' influence on the critical apparatus for modernism. It is often cited to explain Virginia Woolf's enigmatic statement, in "Mr. Bennett and Mrs. Brown" (1924): "on or about December 1910 human character changed". The formalist aesthetics of Roger Fry and Clive Bell with which this date has become linked are also invoked in readings of To the Lighthouse (1927) to explain the painting practice of Lily Briscoe and the modernist aesthetics of Woolf herself. But 1910 saw other events surrounding the exhibition that we might acknowledge as relevant: in particular, the suffragette activism occurring at the time of the exhibition, culminating in the notorious demonstration on "Black Friday". Woolf's manifesto on 1910 seems to resonate both with the formulations by Fry and Bell on European art and with the formulations and practices of British suffragist artists. The stained-glass artist and organiser of suffragist colours, Mary Lowndes, published a number of essays in 1910 and 1911 which are of particular interest. The combined influences of French art, English formalist theory, and suffragist aesthetics may be at work in Woolf's Künstlerroman of 1927. |
| first_indexed | 2026-10-16T13:24:01Z |
| format | Article |
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| language | spa |
| last_indexed | 2026-10-16T13:24:01Z |
| publishDate | 1999 |
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| publisher | Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana |
| publisherStr | Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana |
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| spelling | dialnet-ART00000046592026-10-14Virginia Woolf and post-Impressionism: french art, english theory, and feminist practiceGoldman, JaneRoger Fry's historic exhibition of 1910, "Manet and the Post-Impressionists", was a defining moment in avant-garde aesthetics, marking European modernism's revolutionary impact on the practices of British artists. But it also marked the start of British formalist theorists' influence on the critical apparatus for modernism. It is often cited to explain Virginia Woolf's enigmatic statement, in "Mr. Bennett and Mrs. Brown" (1924): "on or about December 1910 human character changed". The formalist aesthetics of Roger Fry and Clive Bell with which this date has become linked are also invoked in readings of To the Lighthouse (1927) to explain the painting practice of Lily Briscoe and the modernist aesthetics of Woolf herself. But 1910 saw other events surrounding the exhibition that we might acknowledge as relevant: in particular, the suffragette activism occurring at the time of the exhibition, culminating in the notorious demonstration on "Black Friday". Woolf's manifesto on 1910 seems to resonate both with the formulations by Fry and Bell on European art and with the formulations and practices of British suffragist artists. The stained-glass artist and organiser of suffragist colours, Mary Lowndes, published a number of essays in 1910 and 1911 which are of particular interest. The combined influences of French art, English formalist theory, and suffragist aesthetics may be at work in Woolf's Künstlerroman of 1927.Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana1999text (article)application/pdfhttps://dialnet.unirioja.es/servlet/oaiart?codigo=193800(Revista) ISSN 1137-6368(Revista) ISSN 2386-4834Miscelánea: A journal of english and american studies, ISSN 2386-4834, Nº 20, 1999 (Ejemplar dedicado a: Modernism), pags. 173-192spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI |
| spellingShingle | Goldman, Jane Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice |
| title | Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice |
| title_full | Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice |
| title_fullStr | Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice |
| title_full_unstemmed | Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice |
| title_short | Virginia Woolf and post-Impressionism: french art, english theory, and feminist practice |
| title_sort | virginia woolf and post impressionism french art english theory and feminist practice |
| url | https://dialnet.unirioja.es/servlet/oaiart?codigo=193800 |
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