Virginia Woolf: A Conversation with Walter Sickert, the Renowned English Painter E-Book
Virginia Woolf
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- Herausgeber: Musaicum Books
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2017
In 'Virginia Woolf: A Conversation with Walter Sickert, the Renowned English Painter', Virginia Woolf delves into a deep dialogue with renowned English painter Walter Sickert, exploring the intersection between literature and visual art. Woolf's signature stream-of-consciousness style is evident throughout the book, offering readers a unique and intimate look into the creative process and shared influences between the two artists. The conversations are rich in detail and provide a fascinating exploration of the artistic mind and the interconnectedness of various forms of expression, making it a compelling read for both literature and art enthusiasts alike. The book also serves as a valuable glimpse into the Bloomsbury Group's artistic and intellectual milieu, adding a layer of historical context to the discussion. Virginia Woolf's nuanced exploration of creativity and collaboration in 'A Conversation with Walter Sickert' sheds light on the interconnected nature of artistic inspiration and the enduring influence of artistic partnerships. Woolf's deep understanding of both literature and visual art shines through in this captivating book, making it a must-read for those interested in the dynamic relationship between different artistic mediums.
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Virginia Woolf: A Conversation with Walter Sickert, the Renowned English Painter
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Table of Contents
Walter Sickert: A Conversation by Virginia Woolf
Though talk is a common habit and much enjoyed, those who try to record it are aware that it runs hither and thither, seldom sticks to the point, abounds in exaggeration and inaccuracy, and has frequent stretches of extreme dullness. Thus when seven or eight people dined together the other night the first ten minutes went in saying how very difficult it is to get about London nowadays; was it quicker to walk or to drive; did the new system of coloured lights help or hinder? Just as dinner was announced, somebody asked: “But when were picture galleries invented?”, a question naturally arising, for the discussion about the value of coloured lights had led somebody to say that in the eyes of a motorist red is not a colour but simply a danger signal. We shall very soon lose our sense of colour, another added, exaggerating, of course. Colours are used so much as signals now that they will very soon suggest action merely—that is the worst of living in a highly organized community. Other instances of the change wrought upon our senses by modern conditions were then cited; how buildings are changing their character because no one can stand still to look at them; how statues and mosaics removed from their old stations and confined to the insides of churches and private houses lose the qualities proper to them in the open air. This naturally led to the question when picture galleries were first opened, and as no precise answer was forthcoming the speaker went on to sketch a fancy picture of an inventive youth having to wait his turn to cross Ludgate Circus in the reign of Queen Anne. “Look,” he said to himself, “how the coaches cut across the corners! That poor old boy,” he said, “positively had to put his hand to his pig-tail. Nobody any longer stops to look at St. Paul’s. Soon all these swinging signboards will be dismantled. Let me take time by the forelock,” he said, and, going to his bank, which was near at hand, drew out what remained of his patrimony, and invested it in a neat set of rooms in Bond Street, where he hung the first show of pictures ever to be displayed to the public. Perhaps that is the origin of the House of Agnews; perhaps their gallery stands on the site of the house that was leased, so foreseeingly, by the young man over two hundred years ago. Perhaps, said the others; but nobody troubled to verify the statement, for it was a bitter cold night in December and the soup stood upon the table.
