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Brooks I Apostle of Post-Impressionism: Virginia Woolf

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Brooks I Apostle of Post-Impressionism: Virginia Woolf Brooks i Apostle of Post-Impressionism: Virginia Woolf and the British Embrace of the French Avant-Garde By Reanna Brooks Honors Thesis Department of English and Comparative Literature University of North Carolina-Chapel Hill 2020 Approved: Dr. David Ross Brooks ii Table of Contents: INTRODUCTION: THE BEGINNINGS OF BRITISH POST-IMPRESSIONISM ................................... 1 CHAPTER 1: CÉZANNE AND WOOLF. ...................................................................................... 17 CHAPTER 2: MATISSE AND WOOLF ........................................................................................ 41 CONCLUSION: BLOOMSBURY INFLUENCE .............................................................................. 73 BIBLIOGRAPHY ...................................................................................................................... 77 Brooks 1 Introduction: The Beginnings of British Post-Impressionism “The mind of an artist, in order to achieve the prodigious effort of freeing whole and entire the work that is in him, must be incandescent... there must be no obstacle in it, no foreign matter unconsumed” –Virginia Woolf London, 1910. A classically bleak British scene. Georgian architecture suspended under dark gray skies. Frosted windows traced with droplets of rain. The narrow cobbled streets are empty except for occasional stragglers making their way swiftly against the bitter winter wind. At first glance, it appears to be an ordinary day in Mayfair. Careful examination reveals something unusual. Discarded pamphlets litter the streets, advertising some event in bold lettering. A few souls brave the English winter. Clutching their fluttering newspapers, they disappear around the corner. As the day passes, more people appear, headed in the same direction. The dreary square comes to life, and before long, a crowd has formed. The air is now warm with bodies tightly packed together, necks craning to get a glimpse around the corner. Excitement has turned to determination, desperation. At last, through a slight break in the mass, the object of so much attention is revealed: a looming building emitting light, sound, color. The immense bay windows of the building’s entrance jut into the street. Bright electric light spills out of its vast windows, beckoning onlookers to warm relief from the London chill. The illustriousness inside is caught only in glimpses as people pour into the entrance, eager to see the scene (Twitchell 56).1 The air expands with the buzzing hum of humanity as London experiences an artistic epiphany at the Grafton Galleries: The first post-impressionist exhibition.2 1 “The press contributed greatly to the record-breaking attendance at the exhibit by printing a flood of letters and articles about Post-Impressionism” (Twitchell 56). 2 A total of four hundred people visited the gallery that day (Woolf Roger Fry 154). Brooks 2 Inside, the scene is spectacular. Suspended above the British viewers, French art makes its debut. 3 Color, form, and texture seamlessly blend in the novelty of the abstract. Nothing realistic is discernable; instead paint globs overlap and definite lines are wholeheartedly omitted. The meaning of each image is conveyed by shape, hue, and symbolism rather than naturalistic technique. Never before has such an art form been attempted, and for the first time, London gazes upon the post-impressionist art giants: Cézanne, Gauguin, Manet, Matisse, Picasso, Van Gogh (Twitchell 57). As notable as the paintings are the people in attendance. Promising young representatives of the British avant-garde such as Leonard Woolf, Clive and Vanessa Bell, and Roger Fry casually linger amid the crowd. One figure stands out, weaving between the visitors in silent observation and absorption. Although slightly taller than those around her, she remains graceful and poised with her white cotton skirt swishing silently as she makes her way through the crowd. At first glance, she seems rather ordinary: dark brown hair tied loosely back in the Victorian fashion, wide-set eyes accentuating a long Roman nose. Her thin porcelain hands hang limply at her sides as she stands, observing. Only upon closer examination does her beauty reveal itself. Her demeanor is more than elegant; it’s stately. Her expression is brimming with deep thought. Her eyes reveal the deepest understanding of the human condition, and behind them lies the beginnings of a new form of fiction. She stands there, unbeknownst to the others, consuming the art in order to create the next era in literature and begin a modernist movement of her own. Thus begins the career of Virginia Woolf. As an author, Woolf portrayed the truth of her perspective. As an intellect, she abided by the ideas and influences of the “Bloomsbury Group.” As an artist using words, she painted 3 Woolf notes that the paintings for this exhibition were hung by “standing on chairs,” implying they were not at eye level, but rather above the viewer’s head (Woolf Roger Fry 152). Brooks 3 vibrant landscapes and complex characters intricately woven from internal monologues and multi-perspectival narratives. Describing the peculiar nature of her consciousness in Moments of Being, she explains: A shock is at once in my case followed by the desire to explain it. I feel that I have had a blow; but it is not, as I thought as a child, simply a blow from an enemy hidden behind the cotton wool of daily life; it is or will become a revelation of some order; it is a token of some real thing behind appearances; and I make it real by putting it into words. It is only by putting it into words that I make it whole […]. It is the rapture I get when in writing I seem to be discovering what belongs to what; making a scene come right; making a character come together. (81) Such was the subjectivity of Woolf. Her writings, specifically Jacob’s Room (1922), Mrs. Dalloway (1924), To the Lighthouse (1927), and The Waves (1931), reflect the post- impressionist movement itself, constituting a sinuous, free-flowing literary art rivaling any painting. But how did she produce this work? Some scholars argue that Woolf’s first two novels fail. According to French critic Pierre-Eric Villeneuve, her earliest work “has neither grandeur nor architectural solidity […] nor the balance of creative faculties which ensures endurance” (21). So what changed? This thesis will argue that her later, more famous works are literary attempts at post-impressionist art and fundamentally reflect the post-impressionist aesthetic. Woolf’s first two works, The Voyage Out and Night and Day, appeared in 1915 and 1919, respectively. The formal characteristics of post-impressionism were not yet adopted by British avant-gardists, and instead were written off as “either an extremely bad joke or a swindle” (Woolf Roger Fry 156). Furthermore, Woolf “was terrified of showing sentimentality or egotism, and of being laughed at,” and only later in her career overcame these inhibitions (Lee Brooks 4 214).4 The post-impressionist artists of the time had the same apprehensions. Their paralysis stemmed from “fear of failure,” and they lacked “ambition to attempt those difficult and dangerous feats by which alone they could increase their resources and exercise their power by straining them to the utmost” (Woolf Roger Fry 160). Nevertheless, the elements of this art movement began penetrating society, as reflected by the positive reception of the second post- impressionist exhibit in 1912, and by the success of Woolf’s next novel, Jacob’s Room. As Fry noted, “the pictures are the same; it is the public that has changed” (Woolf Roger Fry 153). The shift from shock in 1910 to acceptance in 1922 contributed to the increase in artists’ confidence. The curator of these exhibits, Roger Fry, was derided for introducing such art to British society, yet he found the public criticism “amusing” and “amazing” (Woolf Roger Fry 157).5 A strong emotional response, however negative, was precisely what he hoped to elicit. Fellow Bloomsbury member Desmond MacCarthy notes Fry “remained strangely calm and did not give a single damn” (Woolf Roger Fry 157). Similarly, Woolf eventually overcame her own emotional vulnerability to criticism and embraced her passion for literary experimentation. These exhibitions marked the turning point in Woolf’s literary career, as she too observed that “human character changed,” and in response altered her writing (Twitchell 56). Having learned the lessons of her mediocre first novels, Woolf burst forth as a literary titan, producing canonical works of literary modernism. Despite the range in subject matter, her writing style became solidified, iconic, and “Woolfian.” Her unusual techniques of poly-subjective narrative and stream of consciousness attempted to mimic the 4 Woolf thought of herself as her “grandfather’s grandchild,” thus conventionalizing her first works out of respect to him and her male-dominated audience (Lee 213). 5 See “Retrospect” in Vision and Design by Roger Fry. Brooks 5 artistic style of the post-impressionists.6 As biographer Hermione Lee notes, “the [Friday] club’s discussions, conversations with Vanessa and visits to galleries mean that Virginia was thinking a great deal about painting” (216). She was not only actively engaged with the art world, but she “treated her diary now as the equivalent of a sketch book. Now and always, she measured her work against the work of the painters, and tried to connect their language and hers” (Lee 217). Woolf herself remarks on the influence of post-impressionism
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