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Short Story : ' Seduced By Oranges '

Decent Essays

CHAPTER 2
‘SEDUCED BY ORANGES’:
FROM HYDE PARK TO 46 GORDON SQUARE (1904-1909)

Following the death of her father in 1904, Vanessa Bell uprooted herself and her three siblings, Thoby, Adrian and Virginia from their childhood home in Hyde Park to 46 Gordon Square in London’s Bloomsbury district. It was at 46 Gordon Square that a new way of life and art would begin for the young artist at the age of twenty-five. Describing Bell’s abandonment of their childhood home and her role as a Victorian “mistress of the house,” her sister Virginia wrote: “She had sold, she had burnt; she had sorted; she had torn up. Sometimes I believe she had actually to get men with hammers to batter down- so wedged into each other had the walls and the cabinets …show more content…

Consider too, the artist’s sister, Virginia Woolf, and her contemporary essay “A Room of One’s Own”, originally published in 1929. In the essay, Virginia argues that a “room of one’s own” is needed in order to successfully encourage a woman’s creative freedom, writing “women have sat indoors all these millions of years, so that by this time the very walls are permeated by their creative force, which has, indeed, so overcharged the capacity of bricks and mortar that it must needs harness itself to pens and brushes and business and politics.” Both primary and contemporary scholarly sources reflect this new domestic culture and the changing role for women during this time. Vanessa Bell’s abstract and decorative designs made throughout her experimental period of 1910-1915, a visual example of this marked change. This chapter introduces Vanessa Bell’s earliest forays into the manipulation of interior space. The chapter charts her work made shortly after her move to 46 Gordon Square in 1904 and the formation of the Bloomsbury group in 1905. While Bell’s works produced at this time are generally regarded as a failure in comparison to her later collaborative work with Duncan Grant and Roger Fry, it is important to study this time in her career because it reveals Bell’s earliest efforts and artistic influences in her search for alternative models of modernity.
The early years at 46 Gordon Square were rife with

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