“Such Friends”: 100 years ago, August 7 and 8, 1921, Charleston Farmhouse, East Sussex, England; and Monk’s House, Rodmell, England

Art critic Clive Bell, 39, is at Charleston Farmhouse which he shares with his estranged wife, painter Vanessa Bell, 42, their two sons, Julian, 13, Quentin, about to turn 11, and assorted other family members and lovers.

Clive is writing to his current mistress, Mary Hutchinson, 32, back in London:

Nothing could exceed the monotony of life at Charleston except the pleasantness of that monotony…One comes down to breakfast as much before 10 as possible, hopes for letters, kills a wasp, smokes a pipe, contemplates nature, writes til lunch, reads the Times, goes for a walk, drinks tea, reads Proust, shaves, writes [a letter]…dines, lights a fire, smokes a cheroot, reads the Grenville memoirs, smokes a pipe, reads Proust, goes to bed. Sometimes it rains.”

Mrs. St. John Hutchinson by Vanessa Bell, 1915


About 10 miles away, at Monk’s House in Rodmell, Vanessa’s sister, novelist Virginia Woolf, 39, is quite unwell and has been losing weight. The sales of her latest book, Monday or Tuesday, are good, and she has started sleeping a bit better, without medication. But her current doctors have her on horrible “milk cures,” which she can’t abide.

Virginia has been unable to do any writing or see any guests for about two months, and confides to her diary,

What a gap! Two whole months rubbed out—These, this morning, the first words I have written—to call writing—for 60 days.”

Virginia Woolf by Vanessa Bell, 1912

“Such Friends”:  100 Years Ago… is the basis for the series, “Such Friends”:  The Literary 1920s. Volume I covering 1920 is available in print and e-book format on Amazon. For more information, email me at kaydee@gypsyteacher.com.

This fall I will be talking about Writers’ Salons in Dublin and London Before the Great War in the Osher Lifelong Learning program at Carnegie-Mellon University.

If you want to walk with me through Bloomsbury, download my audio walking tour, “Such Friends”:  Virginia Woolf and the Bloomsbury Group.

Manager as Muse, about Scribner’s editor Maxwell Perkins’ relationships with F. Scott Fitzgerald, Ernest Hemingway and Thomas Wolfe, is available on Amazon in both print and e-book versions.

“Such Friends”: 100 years ago, May 7, 1921, Left Bank, Paris

As soon as he wakes up, English art critic Clive Bell, 39, can’t wait to draft a letter to his mistress back in London, writer Mary Hutchinson, 32, about his memorable evening the night before.

by Bassano, whole-plate glass negative, 7 March 1921

Clive Bell

Clive and some friends started with drinks at Les Deux Magots in Place Saint-Germain des Prés, moving on to dinner at Marchaud’s, a few blocks away at rue Jacob and rue des Saints-Peres,where there were bound to be a lot of Americans. The food is good and it’s very affordable.

One of Clive’s friends sees two men he knows in the next room and invites them over to the table. Clive tells Mary that he didn’t recognize one of the men, but was told he is

a bad sort—speaks only about his own books and their value in a French [accent] out of an opera bouffe. And who do you think [he] was? The creature immediately thrust an immense card under my nose and on it was the name of your favorite author—James Joyce. His companion, who happily spoke not one word of French, was called [Robert] McAlmon…and gives himself out as the most intimate friend of the well-known American poet—T. S. Eliot. God what a couple. Joyce did not seem stupid, but pretentious, underbred and provincial beyond words:  And what an accent. McAlmon is an American. They both think nobly of themselves, well of Ezra Pound and poorly of Wyndham Lewis…The little nuisance [who had brought the two over] broke in drunkenly on Joyce’s incessant monologue of self-appreciation. [Joyce looks like] exactly what a modern genius ought to be…like something between an American traveller in flash jewellery and a teacher in a Glasgow socialist Sunday school.”

Clive decides that in his wanderings around Paris he is going to avoid Joyce.

“Such Friends”:  100 Years Ago… is the basis for the series, “Such Friends”:  The Literary 1920s. Volume I covering 1920 is available on Amazon in print and e-book versions. For more information, email me at kaydee@gypsyteacher.com.

This summer I will be talking about The Literary 1920s in the Osher Lifelong Learning programs at Carnegie-Mellon University and the University of Pittsburgh.

If you want to walk with me through Bloomsbury, you can download my audio walking tour, “Such Friends”: Virginia Woolf and the Bloomsbury Group.

Manager as Muse, about Scribner’s editor Maxwell Perkins’ relationships with F. Scott Fitzgerald, Ernest Hemingway and Thomas Wolfe, is available on Amazon in both print and e-book formats.

‘Such Friends’:  Vanessa Bell’s Six Rooms of Her Own

Back in 2002, I went to see the fabulous Picasso Portraits exhibit at the Tate Modern. While eating the brownie with ice cream and fudge sauce in the café, I filled out the museum’s feedback card, which asked,

‘What other events would you like to see at the Tate?’

Always seizing the opportunity for shameless self-promotion, I wrote something to the effect:

‘Why don’t you have me give a talk about my early 20th century writers and artists?’


‘Why don’t you have an exhibit of Vanessa Bell’s fabulous paintings which are mostly locked away in a Tate Liverpool basement?!’

Still waiting for answer to the first, but the Dulwich Picture Gallery has answered the second. The third question is now, why did it take so long?!

My research into writers’ salons exposed me to creative people I had not been familiar with before, and one of my favorites is Virginia Woolf’s painter-sister, Vanessa Bell. Partly because of the excellent biography by Frances Spalding—Vanessa Bell:  Portrait of the Bloomsbury Artist—who discovered her while researching the art critic and Vanessa’s one-time lover, Roger Fry.

So finding my way from Birmingham to Dulwich to see this exhibit has been high on my to-do list this year. As part of our new-found freedom of semi-retirement, My Husband Tony and I set aside last Tuesday for a London jaunt. Road trip!

First, we had to figure out how to get to Dulwich. Not as difficult as we thought. Train to Euston, Victoria Line to Victoria station, train to West Dulwich, lovely well-marked walk from the station thanks to the glorious weather.

How posh! The Dulwich Gallery is one of the few museums which was actually built as an art gallery, to house a private collection back in the early 19th century. It’s not terribly big, but most rooms are fantastically well lit with the skylights built in.

My timed ticket to the exhibit was for 2:15, but we got there early to have lunch in the crowded but excellent café. The woman in the box office said that the ticket timings were ‘very strict.’ Tony planned to have a look at the museum and then head off to explore nearby Dulwich.

The building itself is well worth a look, but we also spent some time in the related free exhibit, Legacy: Photographs by Vanessa Bell and Patti Smith. Singer/artist/photographer Patti Smith, 71—who, I confess, I remember most from Gilda Radner’s impersonation of her on Saturday Night Live—is a big Virginia Woolf fan, and has recorded a video at Vanessa’s Sussex home, Charleston Farmhouse. [Also a must see. Trust me. Go.]

This exhibit juxtaposed Smith’s photos over quite a few years with Bell’s photo albums of her life—a very interesting idea. Smith’s were artistically small, mostly black and white Polaroids, and a bit dark. Unfortunately, the room itself was a bit dark, and we found ourselves squinting quite a lot.

I sent Tony off—What did you think of Dulwich, honey?

‘Beautiful. I want to live there’—

with a reminder to meet up at the Tate Modern so we could take in the exhibit of Sir Elton John’s photography collection, which includes quite a few by Man Ray, from my Paris group. A doubly deductible trip.

This gave me plenty of time to explore the six rooms at Dulwich devoted to Vanessa’s work. All on her own.

Vanessa bell dulwich poster

Poster for Vanessa Bell exhibit at the Dulwich Picture Gallery

The first room, ‘Among Friends’ [missed a trick there, didn’t they?!], showcases her portraits of those in and around the Bloomsbury Group, including her own self-portrait which is the poster for the exhibit. The room has the same attraction as London’s wonderful National Portrait Gallery—all eyes are looking at you.

Here is Vanessa’s take on her friend and lover of her husband Clive Bell, Mary Hutchinson:

bells por of mary hutchinson

Mrs. St. John Hutchinson (1915)

In the ‘Design and Experimentation’ room are some of Vanessa’s early attempts at abstraction, influenced by the Post-Impressionists Fry was championing around the same time. I got the feeling Vanessa wasn’t as comfortable with abstract painting as she was with recreating the feeling of the real world and people around her—her sister, her children, her lovers, her flowers.

This room also includes fantastic examples from the Omega Workshops which Fry and Vanessa directed from 1913 to 1919. As the exhibit’s wall explanation states, the Workshops represented the pre-World War II hopes that were ‘dashed’ on the battlefields of Europe.

Screen by bell and grant

Tents and Figures (1913), painted folding screen

The ‘Still Life’ room has one of my favorites, Iceland Poppies.

iceland poppies

Iceland Poppies (c. 1908-09)

Doesn’t it look like the pattern for a Norwegian ski sweater? [To those in charge of the gift shop—you can have that idea for free. You’re welcome.]

‘At Home’ demonstrates Vanessa at her best, photographing and painting her family in their natural environments.

Angelica reading

Interior with Artist’s Daughter (1935)

Although some of the playful photos of her two sons would probably get her arrested today.

The fifth room, ‘Landscape,’ shows an interesting juxtaposition of her first painting of the pond at Charleston, done in the fall of 1916, when she had first moved there,

pond at charleston 1916

The Pond at Charleston, East Sussex (1916)

and a more chaotic version of the same scene three years later when the communal life had developed its own complications.


Charleston Pond (1919)

The finale, the sixth room, ‘Pictures of Women,’ includes one of my other favorites, A Conversation, which I’ve always thought would make a nice cover for ‘Such Friends.’ Girls night!

A conversation

A Conversation (1913-1916)

And doesn’t this 1913 portrait look like Carrie Fisher as Princess Leia in Star Wars?!

The model 1913

The Model (1913)

In addition to the paintings, one of the other highlights of this room is a letter Vanessa wrote to her daughter-in-law, Anne Olivier Bell, on the birth of her baby girl,

‘How clever of you to produce a daughter…’

After walking back and forth through the six rooms a few times, I headed back to Dulwich train station, back to Victoria, on to Blackfriars, to walk over the bridge to Tate Modern.

Along streets and through Tube stations that Vanessa, her sister and their ‘Such Friends’ would have used over 100 years ago. And probably, some days, the weather was just as good as well.

The exhibit, Vanessa Bell (1879-1961), is at the Dulwich Picture Gallery until June 4, 2017, and I would have no problem making the journey again if you would like to have your own personal tour guide. And my offer to give a talk is still open…

To walk with me and the ‘Such Friends’ through Bloomsbury, download the Virginia Woolf and the Bloomsbury Group audio walking tour from VoiceMap.