The Bloomsbury painter Vanessa Bell, née Stephen, lived most of her life (1879–1961) in the chilly, concealing shade of her younger sister, Virginia Woolf—the last twenty years following Virginia’s suicide in 1941. Though the attention paid to the Bloomsbury Group seems to be waning on both sides of the Atlantic, there is currently a surge of interest in Bell. Priya Parmar’s novel Vanessa and Her Sister artfully sheds new light on Bell, who is also part of an imaginative group exhibition, “Sussex Modernism: Retreat and Rebellion,” at Two Temple Place in London (William Waldorf Astor’s townhouse, now an exhibition venue). Dulwich Picture Gallery (England’s earliest public art gallery constructed for that purpose) has mounted the first major exhibition of Bell’s work. Her sex life was the chief subject of the BBC series Life in Squares (2015); she was played at different ages by Phoebe Fox and Eve Best.
In 1907, Vanessa married Clive Bell, the art critic and father of her two sons; she briefly became the lover of Roger Fry, the highly admired art critic; and she was the lifelong companion of the gay painter Duncan Grant, whose work will be featured in Tate Britain’s exhibition “Queer British Art, 1861–1967,” opening in April, and who was the father of Bell’s daughter, Angelica. Posterity has judged Virginia the greater artist, but in Parmar’s fictionalized account, Vanessa is the nobler, more sympathetic of the Bloomsbury Group’s founding sisters.
Was Bell a good painter? The striking catalog for the Dulwich show (of seventy-six paintings, works on paper, and fabrics, as well as photographs by both her and Patti Smith) equivocates by stressing her place in art history, saying that she was “one of the most advanced British artists of her time, with her own distinctive vision, boldly interpreting new ideas about art which were brewing in France and beyond.” Nancy Durrant, an art critic for the London Times, agrees: “This show is a joy…. What a magnificent creature she must have been.”