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9781526604019 611e4c1ce31f8a3c62a0f4f2 This Dark Country: Women Artists, Still Life and Intimacy in the Early Twentieth Century https://cdn1.storehippo.com/s/607fe93d7eafcac1f2c73ea4/611e4c1de31f8a3c62a0f584/webp/518ycgrzdxl-_sx322_bo1-204-203-200_.jpg

'A brilliant book ... A truly radical aesthetics fit for the twenty-first century at last!' - Thérèse Oulton

'[A] wonderful book. I am impressed and fascinated. It is beautifully written' - Celia Paul

'A magnificent debut by one of Britain's most electrifying new talents' Camilla Grudova

------------------------------
Lemons gleam in a bowl. Flowers fan out softly in a vase. A door swings open in a sparsely furnished room. What is contained in a still life - and what falls out of the frame?


For women artists in the early twentieth century, including Ethel Sands, Nina Hamnett, Vanessa Bell and Gwen John, who lived in and around the Bloomsbury Group, this art form was a conduit for their lives, their rebellions, their quiet loves for men and women. Gluck, who challenged the framing of her gender and her art, painted flowers arranged by the woman she loved; Dora Carrington, a Slade School graduate, recorded eggs on a table at Tidmarsh Mill, where she built a richly fulfilling if delicate life with Lytton Strachey.

But for every artist we remember, there is one we have forgotten; who leaves only elusive traces; whose art was replaced by being a mother or wife; whose remaining artworks lie dusty in archives or attics.

In this boldly original blend of group biography and art criticism, Rebecca Birrell brings these shadowy figures into the light and conducts a dazzling investigation into the structures of intimacy that make - and dismantle - our worlds.

Review

[A] wonderful book. I am impressed and fascinated. It is beautifully written. Each woman artist, in this superb book, addresses the need to transform the confines she inhabits into a space of empowerment. These artists all lived and worked in the first part of the twentieth century yet their legacy continues to be relevant -- Celia Paul

brilliant book ... A truly radical aesthetics fit for the twenty-first century at last! -- Thérèse Oulton

beautifully written and important art historical work, This Dark Country is a magnificent debut by one of Britain's most electrifying new talents. I cannot wait to read what she writes next! -- Camilla Grudova, author of THE DOLL's ALPHABET

Book Description

A dazzling, boldly original work that tells the powerful and passionate stories of a group of extraordinary women as glimpsed through their still life paintings

About the Author

Rebecca Birrell grew up in Southport, and currently lives in Cambridge. She studied English Literature at UCL, followed by Women's Studies at the University of Oxford. She has occupied curatorial positions at the Jewish Museum London, the Department of Prints and Drawing at the British Museum and at the Charleston Trust. In 2018 she undertook a fellowship at the Yale Centre for British Art. She recently completed her PhD at the Edinburgh College of Art. For the next year she will be Assistant Keeper of Paintings, Prints and Drawings at the Fitzwilliam Museum.
9781526604019
in stockINR 1099
1 1

This Dark Country: Women Artists, Still Life and Intimacy in the Early Twentieth Century

ISBN: 9781526604019
₹1,099


Available At: Hauz Khas
Details
  • ISBN: 9781526604019
  • Author: Rebecca Birrell
  • Publisher: Bloomsbury Publishing
  • Pages: 384
  • Format: Hardback

Book Description

'A brilliant book ... A truly radical aesthetics fit for the twenty-first century at last!' - Thérèse Oulton

'[A] wonderful book. I am impressed and fascinated. It is beautifully written' - Celia Paul

'A magnificent debut by one of Britain's most electrifying new talents' Camilla Grudova

------------------------------
Lemons gleam in a bowl. Flowers fan out softly in a vase. A door swings open in a sparsely furnished room. What is contained in a still life - and what falls out of the frame?


For women artists in the early twentieth century, including Ethel Sands, Nina Hamnett, Vanessa Bell and Gwen John, who lived in and around the Bloomsbury Group, this art form was a conduit for their lives, their rebellions, their quiet loves for men and women. Gluck, who challenged the framing of her gender and her art, painted flowers arranged by the woman she loved; Dora Carrington, a Slade School graduate, recorded eggs on a table at Tidmarsh Mill, where she built a richly fulfilling if delicate life with Lytton Strachey.

But for every artist we remember, there is one we have forgotten; who leaves only elusive traces; whose art was replaced by being a mother or wife; whose remaining artworks lie dusty in archives or attics.

In this boldly original blend of group biography and art criticism, Rebecca Birrell brings these shadowy figures into the light and conducts a dazzling investigation into the structures of intimacy that make - and dismantle - our worlds.

Review

[A] wonderful book. I am impressed and fascinated. It is beautifully written. Each woman artist, in this superb book, addresses the need to transform the confines she inhabits into a space of empowerment. These artists all lived and worked in the first part of the twentieth century yet their legacy continues to be relevant -- Celia Paul

brilliant book ... A truly radical aesthetics fit for the twenty-first century at last! -- Thérèse Oulton

beautifully written and important art historical work, This Dark Country is a magnificent debut by one of Britain's most electrifying new talents. I cannot wait to read what she writes next! -- Camilla Grudova, author of THE DOLL's ALPHABET

Book Description

A dazzling, boldly original work that tells the powerful and passionate stories of a group of extraordinary women as glimpsed through their still life paintings

About the Author

Rebecca Birrell grew up in Southport, and currently lives in Cambridge. She studied English Literature at UCL, followed by Women's Studies at the University of Oxford. She has occupied curatorial positions at the Jewish Museum London, the Department of Prints and Drawing at the British Museum and at the Charleston Trust. In 2018 she undertook a fellowship at the Yale Centre for British Art. She recently completed her PhD at the Edinburgh College of Art. For the next year she will be Assistant Keeper of Paintings, Prints and Drawings at the Fitzwilliam Museum.

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