:00:02. > :00:04.Hidden away in the countryside, in the shadow of the South Downs, this
:00:04. > :00:11.farmhouse is being woken from its winter's sleep. And the paintings
:00:11. > :00:19.inside reveal secrets and about the people who lived here. The artists
:00:19. > :00:22.who loved and lost, but led This corner of Sussex became the
:00:22. > :00:26.focal point for the greatest painters and writers of the 20th
:00:26. > :00:32.century. The Bloomsbury set, including a ground-breaking
:00:32. > :00:39.novelist, an eccentric painter and her gay lover. Virginia Woolf,
:00:39. > :00:44.Vanessa Grant and Duncan Grant. What was created here at Charleston
:00:44. > :00:48.had a far reaching influence on how we view art. Not just in the south-
:00:48. > :00:50.east, but across the whole world. The pictures they chose to paint
:00:50. > :01:00.reveal so much about their characters and their extraordinary
:01:00. > :01:03.legacy that they left behind. But not everything is on show. Just
:01:03. > :01:07.like any gallery, some paintings have rarely seen at the light of
:01:07. > :01:17.day. In this programme, we shine a light on the works of art hiding in
:01:17. > :01:31.
:01:31. > :01:35.I'm Katherine Raywood. I'm an interior designer. I live in Sussex,
:01:35. > :01:38.and Charleston's art has been an inspiration. So I am going behind
:01:38. > :01:42.closed door to discover to discover the treasures of Bloomsbury, in the
:01:42. > :01:52.most surprising of places! Oh, my goodness! Look at that! My journey
:01:52. > :01:56.
:01:56. > :01:58.is part of a new project. The BBC has joined forces with the Public
:01:58. > :02:01.Catalogue Foundation to show the nation's collection of oil
:02:01. > :02:04.paintings on line. There are thousands of paintings, in museums
:02:04. > :02:12.and art galleries, owned by you and me, that aren't on display. I am
:02:12. > :02:18.I am starting the search for hidden art at Charleston, as near Lewes.
:02:18. > :02:23.First, there's work to be done. Look at that beautiful needlepoint!
:02:23. > :02:29.Wow! Today, Maggie and an army of volunteers are getting ready to
:02:29. > :02:32.reopen Charleston Farmhouse for to the public for the spring. The
:02:32. > :02:37.House draws visitors from around the world, keen to explore the
:02:37. > :02:42.country home of the Bloomsbury Group, as it was in the past.
:02:42. > :02:45.That's beautiful, right there. Last autumn, every every piece of art
:02:45. > :02:49.was carefully covered up to protect them from damage During the winter
:02:49. > :02:59.months. Some of the paintings are coming out of storage to go on
:02:59. > :03:06.
:03:06. > :03:11.display. Let me have a look at that This is Duncan Grant's bedroom. He
:03:11. > :03:14.used do this for years and years, didn't he? That right. Everything
:03:14. > :03:19.here's wrapped up for the winter every year, painstakingly unwrapped
:03:19. > :03:23.in time for the spring? Everything is cleaned and covered, either with
:03:23. > :03:31.the tissue hats off the dust sheets, and the textiles under the sheet
:03:31. > :03:36.have got acid-free tissue on them as wellto protect them. When you
:03:36. > :03:41.uncover them, everything is ready. They've been protected for the
:03:41. > :03:45.winter. Does it feel like the house is breathing a lovely sigh of
:03:45. > :03:48.relief to be opened up again? Does it feel like that? I think so. The
:03:48. > :03:51.colour disclose when you uncover it, because they've been veiled for the
:03:51. > :03:56.winter. When you uncover it, it looks better than ever. The colours
:03:56. > :03:59.just seemed to hit you. You get used to it all again. Is it nerve-
:03:59. > :04:02.racking, or have you done it so many times now, you're not worried
:04:02. > :04:08.about breaking things? No, I think if you start to worry, then
:04:08. > :04:12.accidents happen. You just have to be safe. There's a good reason for
:04:12. > :04:15.wearing white gloves. These precious artefacts have an amazing
:04:15. > :04:21.history. In 1916, Charleston became home to a very unconventional
:04:21. > :04:24.household. Vanessa Bell moved here, not with her husband, Clive Bell,
:04:24. > :04:27.but with her lover and fellow artist, Duncan Grant, who was gay.
:04:27. > :04:37.Vanessa's sister, Virginia Woolf, who was later to take her own life,
:04:37. > :04:42.Vanessa Bell came from a privileged London background, and her and
:04:42. > :04:49.Duncan Grant's ideas about art were radical. They painted everything
:04:49. > :04:52.and anything in sight. Their use of colour was bold and ground-breaking.
:04:52. > :04:55.They offered up a challenge to Victorian morality, and were far
:04:55. > :05:04.ahead of their time. One of the rooms that had already been
:05:04. > :05:06.unwrapped a offers clues to their complex lives. And into the studio.
:05:06. > :05:10.This is the most amazing room, because Charleston Farmhouse feels
:05:10. > :05:13.quite dark and cosy and room-like, but then you come into the studio,
:05:13. > :05:23.and all of a sudden, they're huge windows letting in all of this
:05:23. > :05:25.
:05:26. > :05:32.You can see why Duncan Grant and Vanessa Bell spent nearly every day
:05:32. > :05:41.in here painting and talking to each other. There are some
:05:41. > :05:44.fantastic paintings in here. This one is very special. It's a self-
:05:44. > :05:48.portrait of Duncan Grant when he was a young man up. Look how
:05:48. > :05:50.handsome he was. He was renowned for being utterly beautiful And
:05:50. > :05:53.utterly charming. Practically everyone he met fell madly in love
:05:53. > :05:56.with him. Talking of which, under that, we've a portrait by Duncan
:05:56. > :05:59.Grant of Adrian Stephen, who was Vanessa Bell and Virginia Woolf's
:05:59. > :06:09.brother, but also Duncan Grant's lover. You can see how that got
:06:09. > :06:19.
:06:19. > :06:23.What else have we got here? Look at this fabulous picture. This is a
:06:23. > :06:25.portrait of the Vanessa Bell by Duncan Grant. I love the face in
:06:25. > :06:28.here. There's something really special about artists' studios
:06:28. > :06:32.anyway, and it's so wonderful to come in here and see all of the oil
:06:32. > :06:37.paintings, and the little clues around us to how the pair of them
:06:37. > :06:45.live their lives here. It's really Vanessa Bell's granddaughter,
:06:46. > :06:50.Virginia Nicholson, has happy memories of Charleston. I remember
:06:50. > :06:54.Duncan sitting there with an easel. Do you? Yes. I was only six when
:06:54. > :07:02.Vanessa died, but I do remember her well, because we came here when I
:07:02. > :07:04.was 12, every summer holiday, for sometimes six weeks at a time. And
:07:04. > :07:08.there was my grandparents, Vanessa and Clive, and Duncan, and I
:07:08. > :07:13.suppose, I never had any idea that that was a bit unusual, that I had
:07:13. > :07:23.three grandparents and not the usual two On that side of a family!
:07:23. > :07:27.
:07:27. > :07:30.You were just lucky! It was a bonus! Virginia remembers being
:07:30. > :07:33.painted by both Duncan and finesse that in the Charleston studio. She
:07:33. > :07:37.was not an easy subject. Vanessa dreamed up a way of getting my
:07:37. > :07:40.attention and stopping me fidgeting, and the St "can I see? Can I see?".
:07:40. > :07:44.I desperately wanted go the other side of the easel, and you'd see
:07:44. > :07:47.them dabbing away. What did she do? What she did was look at the
:07:47. > :07:52.pictures on the walls behind her in the studio, and tell stories about
:07:52. > :07:55.them. So I used my imagination and started telling her stories. The
:07:55. > :08:01.hour would pass. She did have a lovely, imaginative relationship
:08:01. > :08:03.with her grandchildren. Duncan, no relation, but he might as well have
:08:03. > :08:07.been a grandfather. There was something very innocent, very
:08:07. > :08:14.childlike about him that children responded to. He had a kind of
:08:14. > :08:16.almost naivety, a sort of innocence about him. He adored anyone who was
:08:16. > :08:26.involved in painting or drawing, and we did nothing else as
:08:26. > :08:30.
:08:30. > :08:40.children! He just thought that was Wow! Are these Duncan Grant's
:08:40. > :08:49.
:08:49. > :08:55.glasses? So brilliant. Look at Oh, it's Angelica! Hello, Angelica!
:08:55. > :09:00.There she is! Hello! She's come out for the spring! Angelica Bell was
:09:00. > :09:04.Duncan and Vanessa's daughter. It's great to see this painting on
:09:04. > :09:07.display, but not all Charleston's art is on sho. I am interested in
:09:07. > :09:11.tracking down a portrait of Julia Stephen, who was Virginia Woolf's
:09:11. > :09:16.and Vanessa Bell's mother. A haunting figure who cast a shadow
:09:16. > :09:20.over their lives. Curator Wendy Hitchmow has brought the portrait
:09:20. > :09:27.out of storage, as it's never been on display at Charleston. This is a
:09:27. > :09:32.painting of Vanessa's mother? This Is Julia Stephen, mother of
:09:32. > :09:38.Vanessa Bell and Virginia Woolf.and not painted by Bell or grant? No,
:09:38. > :09:41.by a very famous Victorian painter called Frederick Watts. And as far
:09:41. > :09:43.as we know, it was never hung at Charleston. So there was a very
:09:43. > :09:51.special relationship between Virginia and Vanessa and their
:09:51. > :09:53.mother? Was she inspirational to them? I think it was a bit of a
:09:53. > :09:56.double edged sword. On one hand, she really represented the
:09:56. > :09:59.Victorian womanhood. She was committed to good work, to nursing
:09:59. > :10:02.the sick, helping the poor, so she represented all of those things,
:10:02. > :10:12.the angel in the House that Virginia Woolf had to kill off in
:10:12. > :10:17.
:10:17. > :10:19.order to fight in that room of one's own. -- write. On the other
:10:19. > :10:22.hand, Julia Stephen represented a fantastic creative legacy. Her aunt
:10:22. > :10:25.Sarah entertained everyone from Gladstone and Disraeli to Tennyson,
:10:25. > :10:28.Rossetti. That is a fantastic feminine powerhouse. Is there some
:10:28. > :10:31.sort of significance for the beautiful red dress? The red
:10:31. > :10:33.dresses very interesting and very important. Julia Margaret Cameron
:10:33. > :10:41.photographed Julia Stephen extensively in 1867 always wearing
:10:41. > :10:47.that dress. You began to wonder whether she had another dress!
:10:47. > :10:50.Perhaps she didn't! So then, there were images of Virginia Woolf in a
:10:50. > :10:53.similar red dress as well. When Virginia Woolf was photographed for
:10:53. > :10:57.Vogue, the vogue Hall of fame around 1925, she was photographed
:10:57. > :11:07.wearing her mother's dress, although, yes, I'm no! If you were
:11:07. > :11:07.
:11:07. > :11:14.going to be photographed for Vogue, Are there any occasions of Vanessa
:11:14. > :11:16.wearing it as well Or wearing red? Yes, and that's very interesting.
:11:16. > :11:20.She took one of Julia Margaret Cameron's photographs of her mother,
:11:20. > :11:26.and from that, made a portrait of Judea Stephen that was also sort of
:11:26. > :11:36.a self-portrait. That portrait is now in the reserve collection at
:11:36. > :11:39.
:11:39. > :11:42.Brighton Museum. And hidden and not I am intrigued to tracker down, so
:11:42. > :11:45.are have come to Brighton Museum and Art Gallery to find Vanessa
:11:45. > :11:55.Bell's portrait of her mother that has been in storage for years, but
:11:55. > :12:05.
:12:05. > :12:15.Jenni Lund is taking me behind Under here, big locks and keys!
:12:15. > :12:17.
:12:17. > :12:23.Well, here it is. Hidden in the Bells of the Brighton Museum and
:12:23. > :12:27.Art Gallery. This is Vanessa Bell's dress from 1929. So it's by Vanessa
:12:27. > :12:34.Bell. It's a portrait of the artist's mother, who we know was
:12:34. > :12:37.Julia Stephen. Do you think that the red is very significant Here?
:12:37. > :12:41.Yes, I do. I do think that she is translating this black-and-white
:12:41. > :12:48.image into this very powerful artistic expression. Showing the
:12:49. > :12:52.playfulness of the light falling on the red dress. It's very beautiful.
:12:52. > :12:54.If I didn't know, I would think it was a painting of Vanessa Bell.
:12:55. > :13:04.It's quite uncanny, really.her grea yes, she is almost incorporating
:13:05. > :13:05.
:13:05. > :13:15.her mother and her great aunt into herself portrayed. -- self-
:13:15. > :13:18.
:13:18. > :13:21.portrait. Yes. I love the wooden frame on it as well. It's
:13:21. > :13:24.completely different to all the other pictures round here. Is it
:13:24. > :13:28.going to stay like that when it goes on display? Yes. It'll stay
:13:28. > :13:31.like that. And I think the frame fits very well with the quite feel
:13:31. > :13:34.of the painting itself. The what painting of Julia Stephen in
:13:34. > :13:37.Charleston has just arrived, and Janet Brough is finally giving it a
:13:37. > :13:42.frame. It too is having a rare moment on display at Brighton's
:13:42. > :13:48.exhibition, Radical Bloomsbury. fits! Let me just put that on the
:13:48. > :13:57.easel. Look at that! What a difference. What a difference a
:13:57. > :14:03.frame makes! She looks terribly grand. She really is. She's
:14:03. > :14:10.vulnerable and fragile. And now she is fit to go out! Fits for a great
:14:11. > :14:13.exhibition as well. That's amazing, Back at the gallery, the Vanessa
:14:14. > :14:23.Bell's painting of her mother is finally coming into the light under
:14:24. > :14:24.
:14:24. > :14:31.the close direction of Jenni. careful about the bench behind you
:14:31. > :14:39.there. The moment of truth. Brought up from the lower basement. And now
:14:39. > :14:47.up on to the first floor. How exciting it back it's on. Is it on?
:14:47. > :14:50.Wow. Happy? Happy. She looks like she should have lived here all
:14:50. > :14:55.along. She's this wonderful welcoming presence to everybody
:14:55. > :14:58.who's going to come into the exhibition. Yes. It's so exciting
:14:58. > :15:01.to take paintings out of storage. Is it? Even though you've been
:15:01. > :15:06.doing this for years? It's still an exciting feeling? Yes because you
:15:06. > :15:16.get a new life when the space around you changes. I think she
:15:16. > :15:17.
:15:17. > :15:20.And how great to see both paintings on display after years of being in
:15:20. > :15:23.storage. I wonder what Julia Stephen would have made of the
:15:23. > :15:33.impact of her daughters, a Virginia Woolf and Vanessa Bell, had on the
:15:33. > :15:35.
:15:35. > :15:40.Back at Charleston, volunteers are hard at work sprucing up the house
:15:40. > :15:44.for spring. Think of all the very famous people would have sat in
:15:44. > :15:50.these chairs. Charleston became a country retreat for the Who's Who
:15:50. > :15:53.of society. How is that? Guests included the economist John Maynard
:15:53. > :16:03.Keynes, artist Roger Fry, author Ian Forster, and of course,
:16:03. > :16:04.
:16:04. > :16:14.I am a massive fan of Virginia Woolf. Her novel, To the Lighthouse,
:16:14. > :16:19.
:16:19. > :16:22.was voted one of the top 100 reads of the 20th century. It was
:16:22. > :16:25.Virginia who helped Duncan find Charleston, because she lived near
:16:25. > :16:29.by at the time. She wrote to Vanessa at the point she found the
:16:29. > :16:32.house. "The house is very nice, with large rooms, and one room with
:16:32. > :16:35.big windows, fit for a studio. The house once doing up, and the
:16:35. > :16:38.wallpapers are awful! But it sounds a most attractive place for, and
:16:38. > :16:41.only four miles from us, so you won't be badgered by us! "There's
:16:41. > :16:51.absolutely no doubt that they were drawn to Charleston because of the
:16:51. > :16:52.
:16:52. > :16:56.beauty of the surrounding However, there's another very good
:16:56. > :17:06.reason why they chose the farmhouse. Because Grant was a conscientious
:17:06. > :17:06.
:17:06. > :17:11.Moving to the Sussex farm in the middle of the First World War was
:17:11. > :17:16.one weight for Duncan to be sent to the front. This didn't go down well
:17:16. > :17:20.with the locals. In 1941, in the midst of the second world war,
:17:20. > :17:29.Work on a collection of paintings destined for the nearby church at
:17:29. > :17:31.Berwick. It was one way to build a bridge with their neighbours but
:17:31. > :17:41.with the Charleston household involved, controversy was never far
:17:41. > :17:43.
:17:43. > :17:46.Wow! This is amazing. It's been said before that looking into
:17:46. > :17:56.Berwick Church is a bit like stepping out of England and into
:17:56. > :18:06.Italy. I can certainly see why. It's not hard to imagine why these
:18:06. > :18:13.
:18:13. > :18:18.paintings came as a shock to the These two paintings here on the
:18:18. > :18:24.side are Vanessa's. Vanessa Bell. We've got, the denunciation, over
:18:24. > :18:26.here, which is Angelica, who's the model for Mary. And the very
:18:26. > :18:32.beautiful angel Gabriel his Angelika's best friend, who she met
:18:32. > :18:36.at drama school. She's called Chatty Salomon. Such a brilliant
:18:36. > :18:39.name! Over here, we've the Nativity, which is really lovely, and again
:18:39. > :18:41.we've Angelica as Mary, and apparently the model for the baby,
:18:41. > :18:51.the baby looks very much like Quentin and Julian Bell, Vanessa's
:18:51. > :18:53.
:18:54. > :18:56.I look at these and I think he must have been quite sad and quite
:18:57. > :19:00.poignant for Vanessa or to paint these, because it was only three
:19:00. > :19:04.years ago that she had lost her son Julian, who was of fighting in the
:19:04. > :19:14.Spanish Civil War. Of course, the junior war had only just taken her
:19:14. > :19:20.
:19:20. > :19:23.life as well. -- of the genial This must have stirred up lots of
:19:23. > :19:25.the motions as she was painting them. Behind me up here, we've
:19:25. > :19:28.Christ on the cross, which was painted by Duncan Grant. That's
:19:28. > :19:33.really striking and quite a scary image. They're Post-Impressionist
:19:33. > :19:36.colours, with the orange and the blue. A little bit frightening. In
:19:36. > :19:40.a funny kind of way, I prefer Vanessa's paintings. But over here,
:19:40. > :19:47.the huge one, and the one that knocks you for six as you come in,
:19:47. > :19:49.was Christ in Glory. Again painted by Duncan. I love this one as well.
:19:49. > :19:52.I like the voluptuous cherubs, again all models, all friends of
:19:52. > :19:56.Angelica's. It's really touching. I think it's an amazing thing to do.
:19:56. > :19:59.I am sorry that they upset some of the villagers, because I think
:19:59. > :20:09.Duncan Grant and Vanessa Bell were really trying hard to make amends
:20:09. > :20:10.
:20:10. > :20:12.So how on earth did this project get off the ground? We know that
:20:12. > :20:16.forward-thinking Bishop Bell commissioned Duncan and Vanessa to
:20:16. > :20:21.paint the murals, but why? Clues to their origins can be found in
:20:21. > :20:31.Eastbourne. Some of the original sketches are held at Towner, the
:20:31. > :20:33.
:20:33. > :20:35.Teri Hansen has invited me behind the scenes. They had quite a lot of
:20:35. > :20:38.baggage with them, didn't they? Vanessa Bell and Duncan Grant. I
:20:38. > :20:42.wondered whether the villagers didn't like the idea of wild,
:20:42. > :20:46.louche artists being let loose on their precious church. That had an
:20:46. > :20:49.impact. I think the worst thing was that they were known for that
:20:49. > :20:55.lifestyle. Yes, some of them were atheists, but don't forget they
:20:55. > :21:00.were pacifists. This was a very sensitive time politically for
:21:00. > :21:05.Britain. And they were being let into the church and painting the
:21:05. > :21:10.walls of a really ancient church. It goes back to the 12th century.
:21:10. > :21:14.But Bishop Bell was very adamant. He didn't want the Church to be
:21:14. > :21:17.like a mausoleum Or a traditional stone just standing there. It had
:21:17. > :21:20.to have a living purpose. That living purpose was to encourage
:21:20. > :21:29.parishioners to come in through very difficult and very unstable
:21:29. > :21:35.All they had to do was sit down in the pews and look around them, and
:21:35. > :21:40.see that Christian narrative just all round them. Just to look and
:21:40. > :21:44.read for themselves. In the beautiful colours. They made these
:21:44. > :21:49.small sketches. By I presumed they didn't immediately jump on to
:21:49. > :21:54.canvas. Did they do larger sketches? Yes they did, actually. I
:21:54. > :21:58.have more to show you over here. That exciting. On one of your
:21:58. > :22:07.racks? On one of my racks! Are you ready for this? I am! Oh my
:22:07. > :22:11.goodness! Look at that! Is this a life-size, or real to the size of
:22:11. > :22:13.Jesus in Berwick Church? Pretty much. It's quite different from the
:22:13. > :22:16.finished article. The original sketches were considered, Christ
:22:16. > :22:26.was considered to look too fleshy, to real, too attractive, too
:22:26. > :22:31.
:22:31. > :22:37.handsome, and the idea was to make We've the model, slightly
:22:37. > :22:42.contraposto there. He didn't quite get into the position that Duncan
:22:42. > :22:50.wanted. The story goes that he tied him to his easel and applaud him
:22:50. > :22:58.would lot of whisky until the So he had that look of... Drunk,
:22:58. > :23:03.basically. Yes. He's probably had a few there. And tied to his easel?!
:23:03. > :23:06.Tied to his easel until he finished. He was a devil! Hearing all the
:23:06. > :23:09.complications of his love life with Vanessa Bell, I'm surprised he
:23:09. > :23:16.isn't considered the villain of the story. No, never. Despite his many
:23:16. > :23:22.love affairs. He had relationships with Vanessa's family, didn't he?
:23:22. > :23:25.He did. He was quite notorious. He was faithful to Vanessa in his way.
:23:25. > :23:31.He always came home. A friend of Quentin's said that this made the
:23:31. > :23:34.home so perfect for him that he'd just want to come home. So he just
:23:34. > :23:41.went off. Yes, he had affairs with other men, but she accepted this,
:23:41. > :23:46.and loved him. I really believe that he loved her in his way. He
:23:46. > :23:53.was just so very attractive. He was a very attractive younger man. He
:23:53. > :24:00.just had this charisma. He was like the Cary Grant of Sussex. Nobody
:24:00. > :24:03.The Sussex that so influenced Duncan and Vanessa still inspires
:24:03. > :24:06.local artists today. I like to brush up on my painting skills, so
:24:06. > :24:16.I am joining a class in Lewes, where budding artists are having a
:24:16. > :24:20.
:24:20. > :24:26.go at oils. Today's subject is... Make it a little bit lighter. This
:24:26. > :24:31.artist is showing me the ropes. Keep working at an to you have much
:24:31. > :24:39.it. It is harder than it looks. But what is it about red that is so
:24:39. > :24:47.striking? Vanessa Bell and Duncan Grant's paintings. There's a lot of
:24:47. > :24:53.bright red. She loved wearing it. Sometimes what you wear... You
:24:53. > :25:02.think people can express themselves more in their colours -- paintings?
:25:02. > :25:06.When Devon League learning something. It has made me realise
:25:06. > :25:10.that when I do my own paintings when I get the chance, you can
:25:10. > :25:17.become quite obsessed with little tiny bits of it rather than looking
:25:17. > :25:24.at it as a whole. Vanessa Bell at - - and Duncan Grant were good at
:25:24. > :25:32.making these paintings that are fully of life, and beautiful marks
:25:33. > :25:42.with the paint brushes, and yet, they look quite detailed and... It
:25:43. > :25:43.
:25:43. > :25:53.I do not like this bit. I have ruined that bit pull stop no, you
:25:53. > :26:09.
:26:09. > :26:19.haven't. Don't worry about it. Stop fiddling. Leave it, leave it!
:26:19. > :26:22.
:26:22. > :26:26.I had done. What do that. The myth. Well done, you! Not a bad start,
:26:26. > :26:34.but goodness knows what Vanessa and Duncan would have made of it. They
:26:34. > :26:40.were prolific artist, and there art was not confined to canvas. They
:26:40. > :26:43.painted ceramics, text dials and furniture. -- textiles. The
:26:43. > :26:48.Bloomsbury group set up this workshop as a design enterprise. It
:26:48. > :26:53.was not a huge success. The work was expensive and did did not last.
:26:53. > :26:59.But it did help to establish art in its own right. They were far ahead
:26:59. > :27:04.of their time. They were in the throes of a voyage of discovery.
:27:04. > :27:14.They were discovering Post- Impressionism. No one knew about it
:27:14. > :27:15.
:27:15. > :27:21.until they brought across those Picasso, Matisse, Van Gogh. They
:27:21. > :27:26.were brought across to the horror of the British public, who describe
:27:26. > :27:32.them as a scrawling on the walls of a urinal. These are paintings that
:27:32. > :27:36.the queue up to see at the Tate Modern or wherever. One of the
:27:36. > :27:45.important things about Bloomsbury is that they were radical. They
:27:45. > :27:50.moved to Sussex. To move with your homosexual lover, and not your
:27:50. > :27:54.husband, was an extraordinary thing to do. They stood for toleration,
:27:54. > :27:58.for the reason, are for pass a prison, for friendship, it has
:27:58. > :28:04.taken us a long time to take to catch up. Thankfully, today, we
:28:04. > :28:08.live in a world that tolerate homosexuality, but tolerate
:28:08. > :28:15.minorities. We tolerate a lot of things that the boom Shreeve group
:28:15. > :28:20.tolerated first. I have come to end of my journey, and what a privilege
:28:20. > :28:24.to uncover so much of the art that is owned by you and me are the
:28:24. > :28:28.public collection. But I do wonder what on earth Duncan and and the
:28:28. > :28:30.LSO would have made of the fuss over their work. I do know, however,