Jan Marsh

"It is anyway pointless to try to suppress myth on the grounds of factual error." Allows that myth serves a purpose of its own. A sort of Serenity Prayer for scholars of people like the Pre-Raphs and Byron. "[M]yths...say more about the society that recyels them than about the figures that inhabit them."

A feminist reading that manages not to be a diatribe. (Some recent writers about B's women could have benefited from a study of this.) Helps tremendously that Marsh is a Rossetti biographer, show more knows him well, and doesn't just see him simplistically through the limited lens of his muses. show less

Finally, after reading sections of this in 2007 for my freshman year of college, and different parts for the lead-up to my thesis in 2012, and the thesis itself in 2012 and 2013, I have read this book/catalog cover to cover! It's really THE starting point for anyone interested in women artists of the Pre-Raphaelite movement and one of my favourite resources. I have however always wished that it was slightly differently/better organized. I understand why the chapters are thematic (Women and show more Art 1850-1900 and A Pre-Raphaelite Sisterhood?) but a lot of information seems out of order and/or repetitive, especially when it comes to the catalogue of entries reflecting back on the earlier sections... But as there are so few resources, still, on this subject, this is a great place to start and make do! show less

Bloomsbury Women : Distinct Figures in Life and Art by Jan Marsh. Marsh has written a number of ground-breaking biographies, including PreRaphaelite Sisterhood, Jane and May Morris, The Legend of Elizabeth Siddal and her highly acclaimed work, Christina Rossetti. She has also scripted arts documentary programmes for radio and television, and has curated exhibitions of work by women painters of the PreRaphaelite movement. She is a contributor to the Dictionary of Women Artists and a frequent show more lecturer in Britain, North America and Japan. This is a reprint of the original 1995 book by Endeavour Press.

After reading Virginia Woolf's diaries and letters I thought I had everything I needed to know about the Bloomsbury Group. I also touched on Leonard Woolf's writing and dug into Vita Sackville-West. I knew of Vanessa Bell because of the care she gave Virginia Woolf during her breakdowns. I didn't know about Vanessa Bell and her relationship and child with Duncan Grant. It seems the group was very fluid in their sexual relationships as well as gender roles and identities. Acceptance was both hetero and homosexual. Their openness was unheard of at the time and much was done far from the prying eyes of society.

Marsh centers her study on Virginia Woolf and even more so on Vanessa Bell. Despite the title men are prominent in the reading; This is the first I noted David "Bunny" Garnett and a few others from the group. Bloomsbury was also important and unique in that women were treated as equals. Wealth and education seemed to not to play a major role either. It was a matter of art, writing, and painting, that showed one's worth to the group.

An interesting aspect that I picked up on in this book was in the style of both sisters. Vanessa was inspired by the post-impressionist painters of the group, Duncan Grant, and Roger Fry. Her heavy strokes and "blank faces" left the observer understanding from the color and shape rather than facial expressions. Virginia Woolf attempted to capture effect in her writing. She described her writing as visual impressionistic. Vanessa Bell chose not to use the most telling part of human emotion, the face. Virginia Woolf did the same by avoiding a narrative story in her writing.

A short, but very informative, book showing the inner workings and people of The Bloomsbury Group -- those who stayed, those who made it happen, and those who didn't measure up. Its demise is also shared by the tragedies experienced by the remaining members. Although there were children and members to carry on, the final loss of Virginia Woolf darkened the group and the remaining members went their own ways. show less

Jan Marsh is considered to be an expert in her research of the Pre-Raphaelites. This is an incredibly well written and beautiful book.

The Pre-Raphaelite Brotherhood began as a small group of artists who took the art world by storm in their unique subject matter and style.

Stoic, staid and rigid Victorian society did not quite know how to handle three men who began the Pre-Raphaelite Brotherhood and turned pre-conceived notions of beauty upside down. United in youth, talent and idealism, they show more created a movement representing incredible beauty.

Using models whom Dante Gabriel Rossetti, William Holden Hunt and John Everett Millais deemed "Stunners", at a time when modeling for artists was a step above prostitution, the choice to sit for the artists was risky for some. While some of the women were sisters, wives or daughters, others, such as Lizzie Siddal were of the poorer class.

Lizzie, who was the model of perhaps the most famous pre-raphaelite painting -- John Everett Millais' Opehlia, worked in a hat shop

Fanny Corthforth, the model for Dante Gabriel Rossetti's paintings
Fazio's Mistress and Bocca Baciata, was a prostitute.

William Holden Hunt's painting The Awakening Conscience, included Annie Miller as the model. Enamored by Annie, Hunt rescued her from life on the street and tried to school her in the ways of "respectable women."

The members of the Pre-Raphaelite brotherhood were obsessed with the subject mater of the fallen woman. Depicting the moment of the kept woman's remorse, Hunt's painting was a bold statement at a time when cherubs and angels were the theme of art.

I highly recommend this book to those interested in this incredible art. show less