sign in sign up
<<
Home , 33 Fitzroy Square, Charleston Farmhouse, Duncan Grant, Fitzroy Square, Frances Spalding, Garsington Manor

TEACHERS’ RESOURCE BEYOND DESIGNS OF THE 1913–19 CONTENTS

WELCOME 1 BEYOND BLOOMSBURY: 2 AN INTRODUCTION TO THE OMEGA WORKSHOPS

SHOPPING AT THE OMEGA 4

PURE VISUAL MUSIC: 6 MUSICAL THEMES IN BLOOMSBURY AND BEYOND

ALPHA TO OMEGA: THE 10 BLOOMSBURY AUTHORS LES ATELIERS OMEGA ET 14 LE POST-IMPRESSIONNISME LEARNING RECOURCE CD 17

Cover: Pamela Design attributed to , 1913, printed linen Victoria and Albert Museum,

Below: White (three of five colourways) Design attributed to , 1913, printed linen Victoria and Albert Museum, London WELCOME

The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. The Teachers’ Resouces and Image CDs have proved immensely popular in their first year; my thanks go to all those who have contributed to this success and to those who have given us valuable feedback. In future we hope to extend the range of resources to include material based on Masterpieces in The Courtauld collection which I hope will prove to be both useful and inspiring. With best wishes,

Henrietta Hine Head of Public Programmes The Courtauld Institute of Art Somerset House Strand, London WC2R 0RN BEYOND BLOOMSBURY: AN INTRODUCTION TO THE OMEGA WORKSHOPS

Image: Four-fold screen with Lily pond design Duncan Grant, 1913-14, Oil on wood 181.6 x 242.4cm Established in 1913 by the painter and , , influential , the Omega Henri Gaudier-Brzeska and Winifred Workshops were an experimental design Gill – the remarkable young woman collective, whose members included who ran the Workshops from the start of Vanessa Bell, Duncan Grant and other the War until 1916. Fry insisted that the artists of the . designs were produced anonymously, bearing only the Greek letter Ω (Omega) Well ahead of their time, the Omega in a square, which also decorated the Workshops brought the experimental signboard outside 33 . language of avant-garde art to domestic design in Edwardian Britain. They were The premises served as a shared working a laboratory of design ideas, creating studio and a showroom where informed a range of objects for the home, from clientele could drop in to make a small rugs and linens to ceramics, furniture purchase, choose to have something and clothing – all boldly coloured with made from a wide range of designs, dynamic abstract patterns. No artist or even commission an entire interior. was allowed to sign their work, and Clients included , George everything produced by the Workshops Bernard Shaw, H.G. Wells, W.B. Yeats bore only the Greek letter Ω (Omega). and E.M. Forster, as well as bohemian high society figures like Lady Ottoline Inspired by contemporary art in Europe, Morrell and Maud Cunard. Fry was also the Omega Workshops created a range adept at bringing visiting intellectual of objects for the home, from rugs and grandees such as to the linens to ceramics, furniture and clothing Omega. – all boldly coloured and patterned with dynamic abstract designs. For a short There was no other shop in London while, the Workshops’ premises at 33 like it, where artists and rich patrons Fitzroy Square was the only place to rubbed shoulders and where artists’ shop in London for a ‘Fauve’ shawl, a designs were sold directly to the ‘Post-Impressionist’ chair or a Cubist- consumer. Virginia Woolf recalled the inspired rug. lively atmosphere: ‘There were bright chintzes designed by the young artists; Fry sought to challenge the commercial there were painted tables and painted market in domestic interiors with new chairs; and there was Roger Fry himself and exciting products, and the Omega escorting now Lady So-and-so, now Workshops functioned as a beacon of a business man from Birmingham, opposition to mainstream Edwardian round the rooms and doing his best to culture and aesthetics. As he told a persuade them to buy.’ journalist in 1913: ‘It is time that the spirit of fun was introduced into furniture and into fabrics. We have suffered too long from the dull and the stupidly serious.’ The Workshops managed to stay open during the First World War but eventually closed in 1919. Although it operated for Above: just six years, it saw the creation of an Taken from Omega Workshops Descriptive impressive sequence of thrillingly bold Catalogue, 1914 designs which were well ahead of their time.

The Omega Workshops was a limited company, with shareholders, employees and several subcontracted craftsmen producing wares off site for the Omega INTRODUCTION TO THE EXHIBITION ‘brand’ from original designs by the Written by Dr Alexandra Gerstein, Workshops’ artists. At its height they exhibition curator and Curator for included Vanessa Bell, Duncan Grant, Sculpture and Decorative Arts at The . SHOPPING AT THE OMEGA

A certain unassuming townhouse at The Omega premises were , London, could be comparatively small and inconspicuous. identified as something out of the To shop at the Omega was to enter into ordinary only by exuberant dancing a secret world where one of the delights couples painted into two recesses in was the possibility of meeting with the façade and a cryptic swinging sign the artists and discussing prospective bearing the Greek letter Ω. The house purchases with them. was the shop, gallery, workspace and offices of the Omega Workshops from Department stores such as Whiteleys 1913 to 1919. With no shop window to (est. 1867) and Selfridges (est. 1909) entice customers inside and nothing were staffed by suited salesmen and even to mark the building out as a shop, women, with a reassuring distance from Roger Fry’s group of ‘artist decorators’ the process of production. The gloss relied on reputation and personal of the department store deliberately invitation to sell their goods. obscured the origins of the goods in an impersonal factory, whereas the set-up THE SHOP of the Omega made the handmade At the beginning of the 20th century process of creating central to its appeal department stores were taking over to customers and continued the air of London’s shopping districts with lower, authenticity that Fry promoted. standardised prices, big shop windows and spacious, pristine display spaces THE EXPERIENCE that presented mass-produced goods in There is one place where you can do exotic and appealing ways. In contrast your Christmas shopping in pleasant the Omega Workshops’ founder Roger coolness. That is the Omega Workshops Fry sought to promote ‘the directly in Fitzroy Square… the whole effect expressive quality of the artist’s handling’ as you enter is gayer, brighter, more instead of the ‘deadness of mechanical carnival-like than anything in the big reproduction’. Christmas stores. (Manchester Guardian, 19 December 1913)

Virginia Woolf, a regular patron in particular of the clothes designed by the Omega, describes Roger Fry in his overalls ‘escorting now lady so-and-so, now a business man from Birmingham, round the rooms and doing Above: Entrance to 33 Fitzroy Square (Pub. in A.T. Bolton, his best to persuade them to buy’. The Architecture of Robert and James Adam (1758-1794), Country Life, 1922) The service was a personal one. The ground floor showrooms at 33 Fitzroy Left: Omega Signboard Square displayed examples of the type Duncan Grant, 1915, Oil on wood with metal studs, of goods that could be made to order, Victoria and Albert Museum, London altered and adapted to the needs and tastes of the individual purchaser. Prospective clients would be welcomed here to discuss their orders. In this townhouse setting in a residential square the rugs, furniture, ceramics, clothing and toys produced by the Omega artists SHOPPING AT THE OMEGA might have appeared more like domestic Written by Dr Caroline Levitt, visiting objects than items for sale. lecturer at The Courtauld Institute of Art and Joff Whitten. The building was far from pristine and impersonal. It was lived-in, not as a family CURRICULUM LINKS home (the artists all lived elsewhere) Art and Design, Art History, History and other humanities. but as the home of collaborative THE PHILOSOPHY creativity, the birthplace of art objects It was not only in its aesthetic that the with an everyday purpose, signed not Omega differed from department stores. by individual artists but with the Omega Set up originally to provide a place symbol Ω. The space was decorated in where struggling yet promising artists, the bright, lively designs so characteristic such as the unemployed Duncan of the Omega and the Bloomsbury Grant, could earn enough to live as group. well as selling their work, the Omega was a product of Fry’s benevolence. Its On the first floor were two workrooms methods jarred with mass-consumerism and above that were the offices where and profiteering, promoting instead the essential administration of the honest, small-scale business. business was carried out. It was the presence of the dust and mess of Fry was a Quaker and his sense of civic creative activity that, on one level, made responsibility led him to see the Omega the work of the Omega so appealing Workshops as an alternative to actual – as Winifred Gill, a founder member fighting in the Great War, and a way of and eventual manager of the Omega, putting into practice his pacifism. wrote to Duncan Grant in 1966: ‘There are some things more precious than Conscientious objectors, however, hygiene.’ were seen as anything but noble, being shunned by the media and the public. THE CUSTOMERS Even within the art world and bohemian Despite their everyday function the circles, Fry’s pacifism and working items produced by the Omega retained practices met with challenges. a status above that of utensils and Wyndham Lewis had at one point mass-produced merchandise. The shop worked with the Omega but walked and its products were advertised in the out in October 1913 in protest against style of art exhibitions. When Fry began Fry’s insistence on collaboration over making ceramics, he and his artists individual artistic identity. refused ‘to spoil the expressive quality of their work by sand-papering it down Lewis went on to form the arguably to a shop finish’. A shop finish would better known Vorticist movement which PASSERS-BY DIDN’T have implied standardisation and a loss differed in significant ways, aesthetically DROP IN. of artistic identity. The prices charged and politically, from Fry’s Omega. While also marked the items out as one-off Lewis’s patriotism was militant, the WINIFRED GILL IN individual pieces. For example, a rug internationalism of Fry and his group CONVERSATION, ordered for Lady Hamilton, the wife of was reflective of their pacifism. Sir Ian Hamilton, cost £10 in 1914, the 1958-9 equivalent of around £600 today. Customers of the Omega could expect a personal service, and a genuinely unique The list of customers, as purchase. Yet they had not only to have remembered by Winifred Gill was money and a taste for bright modern therefore generally wealthy and designs, but also to be consciously interested in bohemian art and literature. willing to buy into controversial ideals, Alongside Virginia Woolf, Gill noted demonstrating through their purchases Maud Cunard, George Bernard Shaw a support or at least tolerance of and Princess Lichnowsky, wife of the viewpoints that went against the norm. Imperial German Ambassador to the ” Court of St. James’s 1912–14.

Above: Roger Fry at work in the Omega Workshops, c.1913 Pub. in Richard Stone, Bloomsbury Portraits: Vanessa Bell, Duncan Grant and their circle (: Phaidon, 1976)

Right: Display of Omega wares, (Pub. in Omega Descriptive Catalogue, 1914.) PURE VISUAL MUSIC: MUSICAL THEMES IN BLOOMSBURY AND BEYOND

The Bloomsbury group is primarily of Rural Life in the Dialect), known as a network of artists, writers, On Wenlock Edge (A. E. Housman) and thinkers tied by close family or Songs of Travel (1905-1912, Robert connections and life long friendships Louis Stevenson) are infused with an built on shared values. Often regarded Englishness which is often sought in as insular and deeply protective of one Bloomsbury painting. In a similar vein, another, welcome was seldom extended one could mention George Butterworth’s to those outside their immediate circle. settings of Housman’s A Shropshire Lad, So, what role could there be for the for its nostalgia, poignancy and pacifism, numerous contemporary musicians or Philip Hestletine’s () (composers or instrumentalists), none of numerous settings of traditional folk whom are commonly associated with the songs. From 1915, Hestletine became a group? And what were the group’s views visitor to Manor, the house of on music? In fact the links are not buried a close friend of all of Bloomsbury, Lady too deep, the group did enjoy artistic Ottoline Morell, and so it is likely that collaboration outside their set, and did they met1. write – associatively – about music. A couple of years later (1917-18), Fry For art history the core of the group collaborated with the Tudor music is generally taken to include the artist enthusiast, performer, and instrument and critic Roger Fry, the painter Duncan maker, Arnold Dolmetsch in the Grant, critic , his wife the decoration of a spinet (small harpsichord painter Vanessa Bell, and her younger - see overleaf) undertaken within the sister Virginia Stephen – who became umbrella of the Omega workshops. A Above: the author Virginia Woolf. Grant aside, champion of the unfashionable and the Roger Fry Portrait of 1917 the men met at Cambridge where they unheard of, Dolmetsch drew on sources Oil on canvas had been members of the debating and recently uncovered, such as Godfrey discussion group, the ‘Apostles’. Other Arkwright’s Old English Edition and Cambridge graduates played prominent Fuller Maitland’s Fitzwiliam Virginal Book, roles in Bloomsbury: Virginia’s husband and regularly played Byrd, Arne, and Leonard, the novelist E. M. Forster, Purcell. Renaissance revival swept Britain poet , the economist in the twenties, to which Bloomsbury , and historian was not immune – think for instance and philosopher Goldesworthy Lowes of Virginia Woolf’s fantastical Orlando Dickinson amongst others. Professional (1928). musicians are conspicuously absent from this list however, so I shall retrace some The spinet however, is unusual in of those connections, whilst looking at Omega’s output which in general did not themes common to both the artists of embrace historical sources; to an extent Bloomsbury and music from the teens to this is borne out by the decoration on the thirties. the instrument itself, which is stylistically distinct from the bold colours and The earliest and most immediate patterns typically associated with the link is a family one: Ralph Vaughan- workshop. Where the commission Williams’ wife, Adeline, was a cousin and Omega ideology converge then, of the Stephen sisters. Married in is in its domestic scale and intention 1897, it appears that Adeline was not a – to provide informal entertainment favourite with them, but nonetheless, for a small group of intimate friends. she remained in correspondence with Yet, themes of nationalism, pacifism Virginia, who loyally went to concerts. and friendship should not be over The pastoral of Vaughan-Williams’ music emphasised for they form only one face is perhaps an obvious analogy to make of Bloomsbury’s interests. with the sunny floodlit landscapes and domesticity of , Amid many musical landmarks in the where the Bells and Grant lived from 1: Virginia Woolf was best informed in this area, 1916. Song settings such as Linden noting Warlock’s suicide in her diary; and later Lea (1901, from William Barnes’ Poems writing to Ethel Smyth about another pastoral composer, Charles Villiers Stanford. early Twentieth century, there are two of solid relations with a large number of great significance to Bloomsbury. The French colleagues, Matisse and Picasso first is the Bayreuth Festival to celebrate amongst them. At home, the group the music of Richard Wagner. Wagner had embraced Nina Hamnett and her wrote prolifically on the arts, developing Norwegian husband Roald Kristian, and the concept of a gesamtkunstwerk it is Kristian who was largely responsible – a total work of art – which would for one the more peculiar feats of the IT WAS WATCHING synthesise music, poetry and visual art Omega workshops. Following the into a single performance whose affect outbreak of war in August 1914, Fry DUNCAN GRANT was greater than that of its individual encouraged a series of Friday concerts PLAY TENNIS IN parts. Wagner experimented with this at the workshop at 33 Fitzroy Square “ idea in his operas staged at the theatre to raise funds for Belgian refugees. THE SQUARE THAT specially built for them at Bayreuth, and On a memorable occasion, the cellist GAVE NIJINSKY THE long after his death they continued to Mdme Suggia entertained the audience be staged with this in mind. Bayreuth unabated whilst firemen put out flames IDEA FOR A BALLET became a pilgrimage for intellectuals, in the roof. But it is Kristian’s staging of and in 1908, Virginia Woolf accompanied Debussy’s Boite à Joujoux in early 1915 A BALLET THAT her brother Adrian and his friends to a that is truly remarkable. EXPLORED THE performance there.2 A mysterious figure, Kristian met TRIVIAL CHARACTER It was the second ‘revelation’ however, Hamnett in Paris but this only goes some OF LOVE IN THE that Bloomsbury was to be more deeply way to explaining his coup. In February involved with, and which had a lasting 1913 Debussy had been approached by MODERN AGE impact: the Ballet Russe. From its first the artist and children’s book illustrator THROUGH THE London season in 1909, the ballet André Hellé to write a ballet after his became a compelling fixture, its bold eponymous play. The piano score was METAPHOR OF A post impressionist sets asserting the complete by the end of 1914, but the fashionable status of bright jarring orchestration was only partially finished GAME OF TENNIS. colours and flat planes. In 1912 Ottoline on Debussy’s death in 1918. In spite of Morrell invited the ballet’s chief dancer this, Kristian gathered a small orchestra Vazlov Nijinsky and designer Léon of Belgians for a performance complete Bakst to a dinner party at her house in with dancing puppets made and worked . Morrell later claimed by Omega artists. Given that Debussy’s that it was watching Duncan Grant play work was not yet published, it can only tennis in the square that gave Nijinsky be assumed that Kristian was working the idea for Jeux, a ballet that explored with close inside knowledge. Indeed, in the trivial character of love in the a letter from the end of October 1913, modern age through the metaphor of a Debussy wrote that ‘only marionettes game of tennis. The score by Debussy could interpret the meaning of the is significant for its use of remote text and the expression of the music’, harmonies producing dissonant sound, rendering Kristian’s staging more in accord with the sudden movements uncanny4. Arguably, the libretto would of Nijinsky’s choreography. In fact, plans have been attractive to the disillusioned for the ballet were already underway in climate of wartime, for the idea was that the Summer of 1912, however, this is not ‘toy-boxes are really towns in which the to negate the impact Grant made. The toys live like real people. Or perhaps theme had a further output in two murals towns are nothing else but boxes in executed by Grant at 38 Brunswick which people live like toys.’5 Square. As if to cement the connections between the arts, Rupert Brooke claimed Kristian’s interpretation was well received that Jeux was ‘a Post-Impressionist by a good audience including Walter picture put in motion.’ 3 Sickert, Arnold Bennett, W. B. Yeats and – something which By 1914, Bloomsbury had forged the Debussy literature has overlooked 2: 13th August 1908 - claiming instead a première date 3: Rupert Brooke, on London première of Jeux, 1913, 4: 31st October 1913, in Vallas, Claude Debussy: his in Christopher Reed, Bloomsbury Rooms, (Yale, life and works, (Dover, 1973), 240 2004), 101 5: Vallas, 239 Above: Duncan Grant Tennis Player 1913 Graphite, body colour and oil on paper

Right: Roger Fry Self-portrait 1928 Oil on canvas for 1919, at the Théâtre Lyrique du grand piano, and a screen with nude Vauderville in Paris, with adult dancers. instrumentalists comprised the musical FRY WROTE furniture. On the walls, six large murals THAT THE POST Despite some early forays into stage of vases of flowers were intended to design immediately before the war, it suggest composers – Bach, Mozart, IMPRESSIONISTS was from the 1920s on that Grant and Chopin, Debussy and Stravinsky. At the AIMED AT FINDING Vanessa Bell worked in this medium private view, Cyril Connolly remembered more regularly. Letters from the early that the ‘room vibrated to a Debussy ‘AN EQUIVALENT twenties indicate a more relaxed solo on the harp’ which produced a relation with the Parisian avant garde, ‘rare union of intellect and imagination, FOR LIFE WHICH describing lunches with Picasso, Braque, colour and sound, which produced in the WAS A NEW AND Cocteau, Satie and Derain. It is less of a listener a momentary apprehension of surprise then, to find Grant undertaking the life of the spirit’.6 DEFINITE REALITY. designs for a ballet by Darius Milhaud ACHIEVABLE IF ONE entitled Togo, or the noble savage, with Possibly akin to the ideal for Wagner’s choreography by Massine, and danced gesamtkunstwerk, Connolly’s recollection WERE TO CREATE A by Keynes’ wife and also relates to Fry and Clive Bell’s belief Grant’s distant cousin, Ninette de Valois. that art should stir a particular emotion PURELY ABSTRACT In the early thirties, Bell was responsible in the viewer through its form rather LANGUAGE OF FORM for three sets and costumes for English than its content. Fry wrote that the post ballet companies: High Yellow for impressionists aimed at finding ‘an – A VISUAL MUSIC’ the Camargo ballet in 1932; Pomona equivalent for life’ which was ‘a new and with music by Constant Lambert and definite reality’. This, he went on, was choreographed by Frederick Ashton, for achievable if one were to ‘create a purely Sadler’s Wells in 1933; and Ethel Smyth’s abstract language of form – a visual Fete Galante in 1934. music’.7

Grant also provided sets for John Blow’s In a separate article, Fry also described opera Venus and Adonis (1682), which the possibility of the ‘construction of a opened the Aldeburgh Festival in 1956. fugal arrangement of forms out of the The production by the English Opera elements given in any natural object’, Group was an interesting one, with the as Picasso and Kandinsky had recently artistic directors including Benjamin done.8 It is surely significant that both ” Britten and John Piper. Grant’s Greek- these descriptions rest on musical inspired post impressionist staging was terminology, and moreover, they found praised by The Times as particularly a manifestation in a work by Grant from striking. 1914: Abstract Kinetic Scroll. Although unrealised until the Tate’s retrospective The step to set design would have been in1974, Grant intended the moving scroll a natural one following Bloomsbury’s to be viewed through a small window to experiments in interior decoration, both the accompaniment of music – for which formally through Omega, and informally the Tate chose the fugal slow movement in their homes and those of their friends. of J. S. Bach’s Brandenburg Concerto I. Returning to this interior decoration, it is worth remembering an exhibition in 1932 It is through Bloomsbury’s engagement at the Lefevre Gallery of design by Bell with music that many of its abiding and Grant: the Music Room. Financially concerns can be brought into focus: the exhibition was a mixed success, the tense relation between abstraction heavily underwritten by Virginia Woolf. and domesticity in modernity; the equivalency and combinative vision for However, for our purposes, it the arts; a self conscious construction of demonstrates the significance of music a British identity, which simultaneously for Bloomsbury, their combination of revered the past whilst forging a present decoration with music to create a homely 6: Connolly in Reed, 272 domesticity. A gramophone painted 7: Roger Fry, “The French Group”, The Second by Bell, an embroidered piano stool Post-Impressionist Exhibition, Ex. Cat., 1912 designed by Grant, a decorated baby 8: Fry, “Art: the Grafton Gallery: an Apologia” Nation, 9th November 1912 to inspire future generations. It is this rich This essay is accompanied by a legacy which makes Bloomsbury such an performance in The Courtauld Gallery interesting subject of study. Seeking to by baritone Richard Innergluck and construct a distinct modern art to answer accompanist Tessa Grobel. contemporary demands, today their Sunday 26 July 2009. 15.00-15.45 art epitomises early to mid Twentieth century Britain. GUIDE TO FURTHER READING: Isabel Anscombe, Omega and After, (Thames and Hudson)

Christopher Reed, Bloomsbury Rooms, (Yale, 2004)

GUIDE TO FURTHER LISTENING: Rebecca Clarke, Aspidistra (Claude Flight), 1926

Raph Vaughan-Wiliams, On Wenlock Edge; Songs of Travel

George Butterworth, A Shropshire Lad

Philip Hestletine (Peter Warlock), Late Summer; In an Arbour Green; Yarmouth Fair (traditional)

Claude Debussy, Fêtes Galantes (Paul Verlaine), 1892 [the character Pulcinella appears in both these and in La Boite à Joujoux]

Benjamin Britten, On this Island (W. H. Auden), 1937; Winter Words (Thomas Hardy), 1953; The Holy Sonnets of John Donne (John Donne), 1945

PURE VISUAL MUSIC: MUSICAL THEMES IN BLOOMSBURY AND BEYOND Written by Dr Charlotte de Mille, visiting Above: lecturer at The Courtauld Institute of Art. Spinet (lid open) 1917, decorated 1918 CURRICULUM LINKS Manufacturer: Arnold Dolmetsch Artist: Roger Fry Art and Design, Art History, Music, Wood and oil paint History and other humanities. FROM ALPHA TO OMEGA: THE BLOOMSBURY AUTHORS

The Bloomsbury group included not only Grant, but effectively both a canvas artists, but also a number of important and a headquarters for the group as a writers and theorists. The following whole. His accounts are lively and often authors were connected with the group amusing, and the perspective from which and their books, from novels to art they are written makes them especially criticism, biographies and memoirs, help fascinating. to shed light on the ideas that lay behind the Omega workshops. FRY, ROGER, VISION AND DESIGN, MINEOLA, NEW YORK: DOVER All the books listed below are available PUBLICATIONS, 1998. from major bookshops or online Fry’s collection of his theories on art, sources such as www.amazon.co.uk. reprinted numerous times since the The Courtauld Gallery bookshop keeps original 1920 edition. Includes writing on many of the titles, and can order others. the French Post-Impressionists, Negro The Courtauld’s research journal, Sculpture and Art and Socialism, all Immediations, is available from the major concerns of Fry. One other essay Courtauld on request or by contacting is of particular note. In ‘An Essay in [email protected]. Aesthetics’, Fry insists on the importance of the abstract characteristics of art, Above: BELL, CLIVE, ART (1914), CHARLESTON, such as form, composition and colour Vanessa Bell Conversation,1913-1916 : BIBLIOBAZAAR, 2007. and claims that any attempt to imitate Oil on canvas Officially the husband of Vanessa Bell or represent ‘life’ must be subservient (although she became the long-term to these things. He hails Cézanne as the lover of Duncan Grant, and Clive Bell crux of the ‘modern movement’ that himself had other lovers), Clive Bell is gradually returning to strong forms wrote several volumes on art and artists. and compositions. Fry develops his He contributed to the catalogue of theory of ‘actual life’ on the one hand Fry’s 1912 Second Post-Impressionist and ‘imaginative life’ on the other; the Exhibition, held at the first will lead to instinctive reaction, the in London. In Art, he importantly coined second allows for intellectual reflection. the phrase ‘significant form’ to describe Art, he says, should be connected to the the quality that is both common to imaginative life, since this allows for a all works of art, and that is necessary more abstract, less socially-engaged and for an object to be called a work of therefore purer vision, as can be seen art. By this, he meant that a work of the work of children and of non-western art will combine forms and colours in artists (connected as ‘primitives’ in Fry’s such a way as to provoke an emotion mind). or reaction in the viewer: that reaction, and therefore our aesthetic judgement, HAMNETT, NINA, LAUGHING TORSO is entirely subjective. By this definition, (1932), LONDON: VIRAGO, 1984. he claimed, anything from a pot to a Nina Hamnett, like Winifred Gill, worked painting by Cézanne to the masterpieces for a while for the Omega Workshops of Giotto or can be as well as modelling dresses for them. seen as a work of art. This has obvious For her, the Omega was a haven during connotations for seeing the designs the war. Hamnett was promiscuous and of the Omega Workshops as flamboyant, and knew the art circles of objects rather than merely ‘decoration’. Paris as well as she did those of London. In The Laughing Torso, she reminisces BELL, QUENTIN, ELDERS AND about her bohemian life to date, giving BETTERS, LONDON: MURRAY, 1995. a real flavour of the atmosphere of was one of the two sons the period. As well as writing of her of Clive and Vanessa Bell. In Elders and connection to Fry and the Omega Betters, he writes about figures he knew and the everyday life of its running, as a child amongst the Bloomsbury she notably contrasts its fashions with Group, and in particular during his time the work of Sonia Delaunay in Paris, living at Charleston in Sussex, the home commenting that the Omega designs primarily of Vanessa Bell and Duncan were ‘even more startling’. Towards the end of her life, in 1955, Hamnett wrote STRACHEY, LYTTON, EMINENT a sequel to her first book, entitled Is VICTORIANS (1918), OXFORD: OXFORD She a Lady? Fry’s 1917 Portrait of Nina UNIVERSITY PRESS, 2003. Hamnett, on display in The Courtauld met Clive Bell and Gallery, depicts her as a self-assured, at Trinity College, modern young woman in a domestic Cambridge, in the first years of the setting. twentieth century. With them and others, he eventually helped found the REED, CHRISTOPHER (ED.), A ROGER Bloomsbury Group. Most of Strachey’s FRY READER, CHICAGO: UNIVERSITY work is biography, and in Eminent OF CHICAGO PRESS, 1996. Victorians, he proposes to write of the Reed’s collection of Fry’s writings lives of four Victorian heroes, including covers numerous issues, not least Fry’s Florence Nightingale. However his witty reaction to European artists, but of accounts are written more to critique greatest relevance to the Omega is a society than to glorify his subjects, section devoted to architecture and and he focuses on the humanity and the decorative arts. Alongside the text ordinariness of the four ‘heroes’. from the prospectus for the Omega Strachey was for a while personally Workshops and the preface to the involved with John Maynard Keynes, also Omega catalogue, Fry’s 1917 essay a lover of Duncan Grant. Keynes was a ‘The Artist as Decorator’ defies the political economist, and another author false distinction between the unskilled involved in the Bloomsbury Group. craftsman and the ‘gentleman’ painter of two-dimensional canvases. One of the WOOLF, VIRGINIA, ROGER FRY: fundamental aims of the Omega was to A BIOGRAPHY (1940), LONDON: rejuvenate the decorative arts, rejecting VINTAGE, 2003. mechanically-produced designs in favour Virginia Woolf is perhaps best known for of individual, hand-drawn designs, her novels, many of which were originally adapted and applied to furniture and published with cover designs by her other objects. sister, Vanessa Bell. By the time she wrote famous titles such as ROSENBAUM S. (ED.), THE (1925) and (1927), she BLOOMSBURY GROUP: A COLLECTION had developed a highly accomplished OF MEMOIRS AND COMMENTARY, style in which introspection, psychology LONDON: THE UNIVERSITY OF and the effects of time are as important TORONTO PRESS, 1995. as subject mater. Written only six years A brilliant collection of articles and short after Fry’s death, Woolf’s biography pieces by literary and artistic figures in or of him is a lively, personal portrayal of connected with the Bloomsbury Group. his life and character. Often witty and Some are biographical, others talk anecdotal, its facts have formed the basis about specific occasions in the life of the for much of the biographical work on Fry Bloomsbury Group. Of particular interest undertaken since. It is entertaining and in relation to the Omega Workshops illuminating, not only about Fry, but also is Quentin Bell and Stephen Chaplin’s about many of the figures with whom he ‘The Ideal Home Rumpus’ (1964). This is came into contact and about a detailed account of the split between in the first decades of the twentieth Roger Fry and Wyndham Lewis over the century. It was originally printed by the 1913 Ideal Home Show, documented , run by Leonard Woolf in letters between the protagonists of and responsible for printing much of the the group as well as the Daily Mail, who literature associated with the Bloomsbury had commissioned an Omega exhibit Group; the 2003 Vintage edition includes for the exhibition. Lewis accused Fry of an introduction by , deliberately and dishonestly cutting him Fry’s 1980 biographer. out of a major part in the commission and Fry puts the accusation down to Lewis’ dislike of the Omega’s emphasis on anonymity.

Above: Above: Design with confronted peacocks Design with confronted peacocks Att. Roger Fry 1913-14 Att. Roger Fry 1913-14 Aqueous medium and pencil on poor quality paper Gouache and pencil on quality SECONDARY SOURCES FOR FURTHER READING

ANSCOMBE, ISABELLE, OMEGA AND decorative work. AFTER: BLOOMSBURY AND THE DECORATIVE ARTS, LONDON: THAMES GERSTEIN, ALEXANDRA (ED.), AND HUDSON, 1981. EXPERIMENTS IN DESIGN: A very readable introduction to the BLOOMSBURY AND THE OMEGA setting-up and work of the Omega WORKSHOPS, 1913-19, EXH. CAT., Workshops, the figures involved, their LONDON: COURTAULD GALLERY, 2009. lives and their intentions. Well-illustrated The catalogue of the current exhibition, with photographs of the artists, their with contributions by leading specialists families and the designs. The second in the field. As such it includes some half of the book focuses on the legacy of the most up-to-date thinking on the of the Omega in the later decorative subject, essays on the activities of the arts projects of Vanessa Bell and Omega from textiles to toys and theatre Duncan Grant, notably for their home at design and a comprehensive colour Charleston and for the nearby Berwick catalogue of all the objects displayed in church. the exhibition.

BROCKINGTON, GRACE, ‘“TENDING GREEN, CHRISTOPHER (ED.), ART THE LAMP” OR “MINDING THEIR MADE MODERN, ROGER FRY’S OWN BUSINESS”? BLOOMSBURY ART VISION OF ART, EXH. CAT., LONDON: AND PACIFISM DURING WORLD WAR COURTAULD GALLERY, 1999. I’, IMMEDIATIONS: THE RESEARCH The catalogue of an exhibition held at JOURNAL OF THE COURTAULD The Courtauld Gallery in 1999. Tracing INSTITUTE OF ART, VOL. 1, NO. 1, 2004, Fry’s contribution to the art world as a PP. 6-19. painter, critic and art historian, it presents Brockington presents the Pacifism a canon of major artworks, from the of Fry and the Bloomsbury Group Italian Renaissance to 1934, through the as a form of engagement with the eyes of Fry. This innovative catalogue war that, far from representing aloof contains essays by leading academics, complacency, demonstrated a desire for including Christopher Green, Richard internationalism as a means to peace Cork, Anna Greutzner Robins and and resolution. She suggests that the Elizabeth Prettejohn; an essay by Judith Omega workshops were sustained Collins, ‘Roger Fry’s Social Vision of Art’, (ideologically, if not commercially) by focuses on the Omega as a political war, as their intention was to continue project. creativity in the face of destruction, brotherhood and collaboration in HARRISON, CHARLES, ENGLISH ART the face of enmity and flamboyant AND 1900-1939 (1981), decoration in the face of sobriety and NEW HAVEN AND LONDON: YALE desolation. UNIVERSITY PRESS, 1994. A key book on this period in COLLINS, JUDITH, THE OMEGA English art as a whole. Chapter 3, WORKSHOPS, LONDON: SECKER AND ‘“Post-” and the “New WARBURG, 1984. Movement”’, situates the activities of the A detailed and discursive account of Bloomsbury Group, and especially Roger the Omega Workshops, from their Fry, within the context of Fry’s selective founding to their demise, drawing on admiration for modern French artists, letters and other archival documents including Cézanne, Matisse and Picasso. for information. Collins broaches issues Discussing Fry’s mounting of two shows such as the political anti-war stance of of Post-Impressionist works in London, the Omega, the rivalry between Fry and Harrison demonstrates the ways in which Wydham Lewis, the contributions of the work of the Bloomsbury Group Henri Gaudier-Brzeska to the workshops, emerged from an interest in the strong the Omega’s publications and formal properties and ‘imaginative life’ of translations (and what these can tell us of these European figures. Art, for Fry, was their own thinking) and the relationship to create rather than imitate; such art of the Bloomsbury artists’ art to their was itself a powerful force for good. REED, CHRISTOPHER, BLOOMSBURY ROOMS, NEW HAVEN AND LONDON: OF PARTICULAR YALE UNIVERSITY PRESS, 2004. INTEREST IS BELL An intellectual study, tracing the importance of the decorative arts to AND CHAPLIN’S the Bloomsbury group from interior “‘THE IDEAL HOME design projects completed before the founding of the Omega Workshops, RUMPUS’ (1964). to commissions undertaken almost a decade after the war. Reed situates THIS IS A DETAILED these projects within key contexts ACCOUNT OF THE such as Modernism, the work of contemporary architects in Europe SPLIT BETWEEN (such as Le Corbusier) and the politics ROGER FRY AND of Pacifism and Conscientious Objection during the war. At once WYNDHAM LEWIS readable and intellectually stimulating, this is an excellent book that will OVER THE 1913 greatly broaden the reader’s IDEAL HOME SHOW. perspective on the Omega. It is richly illustrated.

SHONE, RICHARD (ED.), THE ART OF BLOOMSBURY, EXH. CAT., LONDON: TATE, 1999. The catalogue of an exhibition held at the Tate in 1999. Roger Fry, Ducan Grant and Vanessa Bell are the focus, and the catalogue covers their art from c.1910-1940. Three essays re-consider their place in British and European modernism, and of the Omega Workshops are considered as an integral Above: part of their lives and collective oeuvre. Omega sitting room at the Ideal Home Exhibition, Olympia, 1913. SPALDING, FRANCES, ROGER FRY: ART Left: AND LIFE, (LONDON, GRANADA, 1980) Omega Workshop (Roger Fry and John Joseph An eminently readable biography of Kallenborn) ‘Giraffe’ marquetry cupboard 1915-16 Roger Fry, tracing his career as a critic, Manchester Art Galleries. curator and artist and drawing on Fry’s own writings to explain his ideas. Chapter 9 in particular focuses on the Omega Workshops and includes some excellent illustrations.

FROM ALPHA TO OMEGA: THE BLOOMSBURY AUTHORS Written by Dr Caroline Levitt, visiting lecturer at The Courtauld Institute of Art.

CURRICULUM LINKS Art and Design, History, Art History, English Lit&Lang. LES ATELIERS OMEGA ET LE POST-IMPRESSIONNISME

The following activity is designed for KS3 Impressionists (terme que Fry a lui-même and KS4 MFL French students or young inventé) suscite beaucoup d’intérêt critique French speaking visitors to the gallery. et artistique tout comme la Second Post- Impressionist Exhibition deux ans plus tard. LES ATELIERS OMEGA ET Enfin, les révolutions visuelles du cubisme LE POST-IMPRESSIONNISME et du fauvisme vont avoir une grande répercussion sur les œuvres des artistes ACTIVITÉ EN FRANÇAIS, KS3 AND KS4 du Bloomsbury Group. Grands amateurs de Paul Cézanne, Roger Fry ainsi que ‘Inspirés par l’art d’avant-garde en les autres artistes des ateliers Omega Europe, les ateliers Omega créèrent (Duncan Grant, Vanessa Bell, Winifred une ligne d’objets d’ameublement, Gill entre autres) sont aussi influencés par comprenant tapis, tissus, poteries, les expériences formelles et picturales meubles et vêtements – tous chamarrés d’artistes comme Picasso et Matisse. et aux motifs abstraits et dynamiques. Pendant cinq petites années, l’endroit La phrase célèbre de Cézanne, « [il faut] où acheter un châle fauve, une chaise traiter la nature par le cylindre, la sphère et ‘postimpressionniste’ ou un tapis cubiste le cône » qu’il écrit dans une lettre à son était au 33 Fitzroy Square - quatrième ami Emile Bernard en 1900, prend plein de couverture, Beyond Bloomsbury: sens dans les recherches artistiques et les Designs of the Omega Workshops patrons des ateliers Omega. Le motif de 1913-19, exhibition catalogue, ed. tissu Mechtilde (cat. 35), avec ses cubes Alexandra Gerstein, The Courtauld aux angles arrondis entrefilés, en est un Gallery 2009. parfait exemple tout comme le motif Cracovie, que l’on retrouve dans le gilet du En créant les ateliers Omega en 1913, même nom (cat. 40). Le plateau en bois Les Roger Fry transpose à Londres (et en Lutteurs d’Henri Gaudier-Brzeska (cat. 65), Grande Bretagne) certaines innovations avec ses formes humaines découpées en artistiques en vogue à Paris au tout début cubes, triangles et cônes, manifeste encore du 20eme siècle. l’influence cubiste sur les productions Omega. Tout d’abord, le fonctionnement de l’atelier Martine, fondé par le couturier Enfin, les recherches sur la couleur ‘pure’, Paul Poiret en 1911 à Paris, inspire Fry. que Matisse et Derain avaient entamées Cette sorte d’école d’arts décoratifs l’été de 1905, se retrouvent aussi dans forme des jeunes filles issues de milieu de nombreux motifs et décorations des modeste à la décoration, tout en créant objets Omega. En effet, une des assiettes une ligne d’ameublement (mobilier, tissus dessinées par Duncan Grant, représentant et papiers). Poiret établit un lien direct un bateau à voile au soleil couchant entre ses produits et les milieux artistique (cat 47), porte fortement l’influence des avant-garde de l’époque, en demandant couleurs chaudes et lumineuses des aux artistes en vogue de dessiner certains premières toiles fauves de Matisse, comme modèles. C’est ainsi que Raoul Dufy, La plage rouge de 1905. Les couleurs de proche des peintres fauves, dessine des la table et du paravent Nénuphars (cat. tissus et des modèles pour les ateliers 70 et 71) tout comme les motifs du patron Martine en 1911-12. Poiret s’adresse ‘Maud’ (cat 34) rappellent aussi fortement aussi à Madame Paul Sérusier (la femme les tonalités fauves. du peintre nabi) pour former ses jeunes apprenties.

Fry s’évertue ensuite, en 1910 et 1912, à organiser deux expositions aux Grafton Galleries à Londres pour introduire le public britannique aux œuvres de Cézanne, Van Gogh et Gauguin qui n’ont jamais été exposés en Grande Bretagne. La première exposition, intitulée Manet and the Post- ALA RECHERCHE DES TOILES ENFIN, LES POSTIMPRESSIONNISTES DE RECHERCHES SUR LA GALERIE COURTAULD: Localisez les œuvres des artistes LA COULEUR ‘PURE’, mentionnés ci dessus dans la Courtauld “QUE MATISSE ET Gallery: (attention, certaines toiles sont exposées temporairement). Etablissez une DERAIN AVAIENT liste précise de ces œuvres et comparez-les ENTAMÉES L’ÉTÉ aux œuvres des ateliers Omega. DE 1905, SE Avez-vous remarqué d’autres œuvres qui vous rappellent les motifs Omega ? RETROUVENT Que pouvez-vous dire des œuvres AUSSI DANS DE suivantes ? A quelles autres toiles/artistes/courants Paul Cézanne Apples, bottle and Chairback, 1904-06 NOMBREUX MOTIFS Graphite and watercolour on paper, 46 x 60 cm artistiques vous font-elles penser ?

ET DÉCORATIONS o Léger, Contrastes de Formes, 1913 DES OBJETS OMEGA. o Kandinksy, Improvisation sur Ebène, 1910 o Jawlensky, Blue Cap, 1912 o Dufy, Les Barques à Martigues, 1907 o Seurat, La Toilette, 1888-90

D’autres images similaires se trouvent dans le Learning Resources CD inclus dans ce pack. RECHERCHE ET ANALYSE: 1. Cubisme et Fauvisme dans les cercles artistiques européens du début du 20e siècle: Paris centre mondial de l’avant-garde ?

Duncan Grant Still Life with Peaches, c. 1910 2. Les arts décoratifs en France au début Oil on canvas, 33 x 43 cm du 20e siècle : art nouveau et art déco.

POST-IMPRESSIONISM AND THE OMEGA WORKSHOPS Written by Alice Odin

CURRICULUM LINKS MFL French, Art and Design, Art History and History POST-IMPRESSIONISM AND THE OMEGA WORKSHOPS: A TRANSLATION

POST-IMPRESSIONISM AND THE with colour and form. Other similar images can be found on OMEGA WORKSHOPS the Learning Resources interactive CD. Cezanne’s famous sentence from a ‘Inspired by avant-garde art in Europe, letter to Emile Bernard in 1900, ‘[one RESEARCH AND ANALYSIS: the (Omega) Workshops created a must] treat nature though the cylinder, 1. Cubism and Fauvism in the European range of objects for the home, from rugs the sphere and the cone’, is given its artistic circles of the early 1900s: Paris as and upholstery to ceramics, furniture full meaning in the Omega workshops’ the capital of avant-garde art. and clothing – all boldly coloured and artistic research and some of their patterned with dynamic abstract designs. designs. The Mechtilde pattern (cat. 2. Decorative arts in France in the For five brief years, 33 Fitzroy Square 35), with its linked round angled cubes beginning of the 20th century: art was the place to buy a ‘Fauve’ shawl, and the Cracow waist coat pattern (cat. nouveau and art deco a ‘Post-Impressionist’ chair or a Cubist- 40), are perfect examples of this move inspired rug’ – from Beyond Bloomsbury: into geometrical form-based designs. Designs of the Omega Workshops 1913- Further cubist influence can also be 19, exhibition catalogue, ed. Alexandra found in Henri Gaudier-Brzeska’s tray Gerstein, The Courtauld Gallery 2009. The Wrestlers (cat. 65) where two bodies When Roger Fry created the Omega are seen wrestling through a prism of Workshops in 1913, he brought to triangles, squares and rectangles. London (and the ) some artistic innovations which had Matisse and Derain’s research on ‘pure’ been popular in Paris in the first decade colour during the summer of 1905, of the 20th century. which led to their fauvist work, can also be found in the Omega’s designs. The Fry was firstly inspired by the atelier plate (cat. 47) with a boat seen in the Martine, founded in 1911 by the dress sunset is redolent of Matisse’s warm and maker Paul Poiret. This applied arts luminous colours in his early fauve works school, for young working-class girls, such as The Red Beach (in The Courtauld also created a range of furniture and Gallery) of 1905. home designs. Poiret established a The Lily Pond’s green, grey and red direct link between his products and the motifs (cat. 70), as well as the oranges contemporary artistic circles by asking and blues of the Maud pattern (cat. 35), some of the avant-garde artists to design are also a reminder of fauvism’s use of some of his home range. Raoul Dufy, complimentary and primary colours. who in those days was close to the Fauve painters, designed fabrics and patterns POST IMPRESSIONISM PICTURE HUNT for the atelier Martine in 1911-12. Paul Serusier’s wife was also hired to teach the In The Courtauld Gallery, locate the young apprentices how to draw. works by the artists mentioned above In 1910 and 1912, Fry also curated the (some of the works might be currently on two Post-Impressionist (term he himself loan or in storage). Comment on all the coined) exhibitions at the Grafton works you observe and compare them to Galleries in London to introduce the the Omega Workshops’ works. art of Cezanne, Van Gogh and Gauguin to the British people. Both Manet and Have you noticed any other works of art the Post-Impressionists and the Second which are similar to some of the Omega Post-Impressionist Exhibition were widely motifs? Which other works/artists/artistic talked about, in the critics and in the movements do they remind you of? artistic circles. Some of the works are listed below: o Léger, Contrastes of Forms, 1913 The visual revolutions of fauvism and o Kandinksy, Improvisation on cubism had a great impact on the works Mahogany, 1910 of the Bloomsbury group artists. Roger o Jawlensky, Blue Cap, 1912 Fry, Duncan Grant, Vanessa Bell, Winifred o Dufy, The Boats at Les Martigues, 1907 Gill and many other Omega artists were o Seurat, La Toilette, 1888-90 hugely influenced by Paul Cezanne’s works and interested by Matisse and Picasso’s more recent experimentations LEARNING RESOURCE CD

TEACHERS’ RESOURCE HOW TO USE THIS CD BEYOND BLOOMSBURY: DESIGNS FROM You will need a web browser such as THE OMEGA WORKSHOPS 1913-19 Internet Explorer, Firefox or Safari to access Included in the Teachers Resource is a the contents of this CD. Most computers CD of images from the exhibition and have such software already installed. related works. This disc has been specially formatted to be easy to use. Images can Insert the CD into a computer and double be copied and downloaded as long as they click on the click here to start icon. This will are used for educational purposes only. A open the folder using your web browser. copyright statement is printed at the end of this section which outlines authorised and Image list pages include a thumbnail restricted usage. This should be read by (small image) and a full description of each every user before using this resource. image. Click on the thumbnail to see the image full size. The image can then be Section 1: copied or downloaded: BEYOND BLOOMSBURY: EXHIBITION IMAGES PC users: right-click on the image and All the images are from the Courtauld select ‘Save Target As…’ Then choose the Gallery works exhibited in Beyond location to which you want to save the Bloomsbury: Designs of the Omega image. Workshops 1913-19. All images copyright of The Courtauld Gallery, London (Samuel Mac users: control-click on the image and Courtauld Trust) select ‘Save Image As…’ Then choose the location at which you want to save the Section 2: image. WINIFRED GILL AND OTHER OMEGA DESIGNS If your web browser is unable to open the Winifred Gill (1891-1981), the unsung folder you can open the data folder, inside heroine of the Omega Workshops, played which you will find all of the images saved a key part in running the workshops. In as j-peg files. this section are recordings of her niece, Dr Bennett reading out letters Gill wrote to More information Duncan Grant in the 1960’s of her memories Please visit our following pages for more of the Workshops. These recordings are information on: accompanied by designs on paper by • Courtauld Colour Slide Scheme (CCSS): Winifred Gill and other Omega artists from www.courtauld.ac.uk/ccss, where you will the The Courtauld Gallery. be able to order many more educational images. Section 3: • Public Programmes: www.courtauld. THE BLOOMSBURY GROUP AND ac.uk/publicprogrammes, where you can POST-IMPRESSIONISM download more educational resources, The images in this section are all from organise a school visit and keep up to date The Courtauld Gallery, they illustrate the with all our exciting educational activities at link between Fauvism, Cubism and Post the Courtauld Institute. Impressionism and works by Bloomsbury • The Courtauld Gallery: www.courtauld. artists. For further details please use the ac.uk/gallery, where you can learn more CD. about our collection, exhibitions and events. To download a pdf of this teachers resource please visit www.courtauld.ac.uk/ publicprogrammes/onlinelearning

CURRICULUM LINKS Art and Design, Art History, English Lit, Geography, History and PSE. WITH THANKS

WELCOME CCSS COPYRIGHT STATEMENT Henrietta Hine 1. The images contained on the Illustrating Art History resource are for educational BEYOND BLOOMSBURY: AN purposes only. They should never be used INTRODUCTION TO THE OMEGA for commercial or publishing purposes, be WORKSHOPS sold or otherwise disposed of, reproduced Dr Alexandra Gerstein or exhibited in any form or manner (including any exhibition by means of SHOPPING AT THE OMEGA a television broadcast or on the World Dr Caroline Levitt Wide Web [Internet]) without the express permission of the copyright holder, PURE VISUAL MUSIC: MUSICAL The Courtauld Gallery, London. THEMES IN BLOOMSBURY AND 2. Images should not be manipulated, BEYOND cropped, altered. Dr Charlotte de Mille 3. The copyright in all works of art used in this resource remains vested with The ALPHA TO OMEGA: THE Courtauld Gallery, London. All rights and BLOOMSBURY AUTHORS permissions granted by The Courtauld Dr Caroline Levitt Gallery and The Courtauld Institute of Art are non-transferable to third parties unless LES ATELIERS OMEGA ET contractually agreed beforehand. Please LE POST-IMPRESSIONNISME caption all our images with Alice Odin ‘© The Courtauld Gallery, London’. 4. Staff and students are welcome to LEARNING RECOURCE CD download and print out images, in order to Courtauld Colour Slide Scheme illustrate scientific research and coursework (such as essays and presentations). Digital Unless otherwise stated all images © The images may be stored on academic Samuel Courtauld Trust, The Courtauld intranet databases (private/internal Gallery, London computer system). 5. As a matter of courtesy, please always contact relevant lenders/artists for images to be reproduced in the public domain. For a broader use of our images (internal short run publications or brochures for example), you will need to contact The Courtauld Gallery for permission. Please contact us at: Courtauld Images, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN. images@ courtauld.ac.uk, Tel: +44 (0)20 7848 2879.

TEACHERS’ RESOURCE BEYOND BLOOMSBURY: THE OMEGA WORKSHOPS 1913–19 First Edition

Joff Whitten Education Programmes Coordinator Courtauld Institute of Art Somerset House, Strand LONDON, WC2R 0RN

0207 848 2705 [email protected]