South East Hidden Paintings


South East

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Hidden away in the countryside, in the shadow of the South Downs, this

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farmhouse is being woken from its winter's sleep. And the paintings

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inside reveal secrets and about the people who lived here. The artists

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who loved and lost, but led This corner of Sussex became the

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focal point for the greatest painters and writers of the 20th

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century. The Bloomsbury set, including a ground-breaking

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novelist, an eccentric painter and her gay lover. Virginia Woolf,

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Vanessa Grant and Duncan Grant. What was created here at Charleston

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had a far reaching influence on how we view art. Not just in the south-

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east, but across the whole world. The pictures they chose to paint

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reveal so much about their characters and their extraordinary

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legacy that they left behind. But not everything is on show. Just

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like any gallery, some paintings have rarely seen at the light of

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day. In this programme, we shine a light on the works of art hiding in

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I'm Katherine Raywood. I'm an interior designer. I live in Sussex,

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and Charleston's art has been an inspiration. So I am going behind

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closed door to discover to discover the treasures of Bloomsbury, in the

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most surprising of places! Oh, my goodness! Look at that! My journey

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is part of a new project. The BBC has joined forces with the Public

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Catalogue Foundation to show the nation's collection of oil

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paintings on line. There are thousands of paintings, in museums

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and art galleries, owned by you and me, that aren't on display. I am

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I am starting the search for hidden art at Charleston, as near Lewes.

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First, there's work to be done. Look at that beautiful needlepoint!

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Wow! Today, Maggie and an army of volunteers are getting ready to

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reopen Charleston Farmhouse for to the public for the spring. The

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House draws visitors from around the world, keen to explore the

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country home of the Bloomsbury Group, as it was in the past.

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That's beautiful, right there. Last autumn, every every piece of art

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was carefully covered up to protect them from damage During the winter

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months. Some of the paintings are coming out of storage to go on

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display. Let me have a look at that This is Duncan Grant's bedroom. He

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used do this for years and years, didn't he? That right. Everything

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here's wrapped up for the winter every year, painstakingly unwrapped

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in time for the spring? Everything is cleaned and covered, either with

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the tissue hats off the dust sheets, and the textiles under the sheet

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have got acid-free tissue on them as wellto protect them. When you

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uncover them, everything is ready. They've been protected for the

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winter. Does it feel like the house is breathing a lovely sigh of

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relief to be opened up again? Does it feel like that? I think so. The

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colour disclose when you uncover it, because they've been veiled for the

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winter. When you uncover it, it looks better than ever. The colours

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just seemed to hit you. You get used to it all again. Is it nerve-

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racking, or have you done it so many times now, you're not worried

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about breaking things? No, I think if you start to worry, then

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accidents happen. You just have to be safe. There's a good reason for

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wearing white gloves. These precious artefacts have an amazing

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history. In 1916, Charleston became home to a very unconventional

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household. Vanessa Bell moved here, not with her husband, Clive Bell,

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but with her lover and fellow artist, Duncan Grant, who was gay.

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Vanessa's sister, Virginia Woolf, who was later to take her own life,

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Vanessa Bell came from a privileged London background, and her and

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Duncan Grant's ideas about art were radical. They painted everything

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and anything in sight. Their use of colour was bold and ground-breaking.

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They offered up a challenge to Victorian morality, and were far

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ahead of their time. One of the rooms that had already been

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unwrapped a offers clues to their complex lives. And into the studio.

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This is the most amazing room, because Charleston Farmhouse feels

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quite dark and cosy and room-like, but then you come into the studio,

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and all of a sudden, they're huge windows letting in all of this

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You can see why Duncan Grant and Vanessa Bell spent nearly every day

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in here painting and talking to each other. There are some

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fantastic paintings in here. This one is very special. It's a self-

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portrait of Duncan Grant when he was a young man up. Look how

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handsome he was. He was renowned for being utterly beautiful And

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utterly charming. Practically everyone he met fell madly in love

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with him. Talking of which, under that, we've a portrait by Duncan

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Grant of Adrian Stephen, who was Vanessa Bell and Virginia Woolf's

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brother, but also Duncan Grant's lover. You can see how that got

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What else have we got here? Look at this fabulous picture. This is a

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portrait of the Vanessa Bell by Duncan Grant. I love the face in

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here. There's something really special about artists' studios

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anyway, and it's so wonderful to come in here and see all of the oil

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paintings, and the little clues around us to how the pair of them

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live their lives here. It's really Vanessa Bell's granddaughter,

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Virginia Nicholson, has happy memories of Charleston. I remember

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Duncan sitting there with an easel. Do you? Yes. I was only six when

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Vanessa died, but I do remember her well, because we came here when I

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was 12, every summer holiday, for sometimes six weeks at a time. And

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there was my grandparents, Vanessa and Clive, and Duncan, and I

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suppose, I never had any idea that that was a bit unusual, that I had

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three grandparents and not the usual two On that side of a family!

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You were just lucky! It was a bonus! Virginia remembers being

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painted by both Duncan and finesse that in the Charleston studio. She

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was not an easy subject. Vanessa dreamed up a way of getting my

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attention and stopping me fidgeting, and the St "can I see? Can I see?".

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I desperately wanted go the other side of the easel, and you'd see

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them dabbing away. What did she do? What she did was look at the

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pictures on the walls behind her in the studio, and tell stories about

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them. So I used my imagination and started telling her stories. The

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hour would pass. She did have a lovely, imaginative relationship

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with her grandchildren. Duncan, no relation, but he might as well have

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been a grandfather. There was something very innocent, very

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childlike about him that children responded to. He had a kind of

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almost naivety, a sort of innocence about him. He adored anyone who was

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involved in painting or drawing, and we did nothing else as

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children! He just thought that was Wow! Are these Duncan Grant's

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glasses? So brilliant. Look at Oh, it's Angelica! Hello, Angelica!

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There she is! Hello! She's come out for the spring! Angelica Bell was

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Duncan and Vanessa's daughter. It's great to see this painting on

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display, but not all Charleston's art is on sho. I am interested in

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tracking down a portrait of Julia Stephen, who was Virginia Woolf's

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and Vanessa Bell's mother. A haunting figure who cast a shadow

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over their lives. Curator Wendy Hitchmow has brought the portrait

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out of storage, as it's never been on display at Charleston. This is a

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painting of Vanessa's mother? This Is Julia Stephen, mother of

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Vanessa Bell and Virginia Woolf.and not painted by Bell or grant? No,

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by a very famous Victorian painter called Frederick Watts. And as far

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as we know, it was never hung at Charleston. So there was a very

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special relationship between Virginia and Vanessa and their

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mother? Was she inspirational to them? I think it was a bit of a

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double edged sword. On one hand, she really represented the

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Victorian womanhood. She was committed to good work, to nursing

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the sick, helping the poor, so she represented all of those things,

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the angel in the House that Virginia Woolf had to kill off in

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order to fight in that room of one's own. -- write. On the other

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hand, Julia Stephen represented a fantastic creative legacy. Her aunt

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Sarah entertained everyone from Gladstone and Disraeli to Tennyson,

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Rossetti. That is a fantastic feminine powerhouse. Is there some

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sort of significance for the beautiful red dress? The red

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dresses very interesting and very important. Julia Margaret Cameron

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photographed Julia Stephen extensively in 1867 always wearing

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that dress. You began to wonder whether she had another dress!

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Perhaps she didn't! So then, there were images of Virginia Woolf in a

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similar red dress as well. When Virginia Woolf was photographed for

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Vogue, the vogue Hall of fame around 1925, she was photographed

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wearing her mother's dress, although, yes, I'm no! If you were

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going to be photographed for Vogue, Are there any occasions of Vanessa

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wearing it as well Or wearing red? Yes, and that's very interesting.

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She took one of Julia Margaret Cameron's photographs of her mother,

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and from that, made a portrait of Judea Stephen that was also sort of

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a self-portrait. That portrait is now in the reserve collection at

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Brighton Museum. And hidden and not I am intrigued to tracker down, so

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are have come to Brighton Museum and Art Gallery to find Vanessa

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Bell's portrait of her mother that has been in storage for years, but

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Jenni Lund is taking me behind Under here, big locks and keys!

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Well, here it is. Hidden in the Bells of the Brighton Museum and

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Art Gallery. This is Vanessa Bell's dress from 1929. So it's by Vanessa

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Bell. It's a portrait of the artist's mother, who we know was

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Julia Stephen. Do you think that the red is very significant Here?

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Yes, I do. I do think that she is translating this black-and-white

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image into this very powerful artistic expression. Showing the

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playfulness of the light falling on the red dress. It's very beautiful.

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If I didn't know, I would think it was a painting of Vanessa Bell.

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It's quite uncanny, really.her grea yes, she is almost incorporating

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her mother and her great aunt into herself portrayed. -- self-

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portrait. Yes. I love the wooden frame on it as well. It's

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completely different to all the other pictures round here. Is it

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going to stay like that when it goes on display? Yes. It'll stay

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like that. And I think the frame fits very well with the quite feel

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of the painting itself. The what painting of Julia Stephen in

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Charleston has just arrived, and Janet Brough is finally giving it a

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frame. It too is having a rare moment on display at Brighton's

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exhibition, Radical Bloomsbury. fits! Let me just put that on the

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easel. Look at that! What a difference. What a difference a

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frame makes! She looks terribly grand. She really is. She's

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vulnerable and fragile. And now she is fit to go out! Fits for a great

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exhibition as well. That's amazing, Back at the gallery, the Vanessa

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Bell's painting of her mother is finally coming into the light under

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the close direction of Jenni. careful about the bench behind you

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there. The moment of truth. Brought up from the lower basement. And now

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up on to the first floor. How exciting it back it's on. Is it on?

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Wow. Happy? Happy. She looks like she should have lived here all

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along. She's this wonderful welcoming presence to everybody

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who's going to come into the exhibition. Yes. It's so exciting

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to take paintings out of storage. Is it? Even though you've been

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doing this for years? It's still an exciting feeling? Yes because you

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get a new life when the space around you changes. I think she

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And how great to see both paintings on display after years of being in

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storage. I wonder what Julia Stephen would have made of the

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impact of her daughters, a Virginia Woolf and Vanessa Bell, had on the

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Back at Charleston, volunteers are hard at work sprucing up the house

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for spring. Think of all the very famous people would have sat in

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these chairs. Charleston became a country retreat for the Who's Who

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of society. How is that? Guests included the economist John Maynard

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Keynes, artist Roger Fry, author Ian Forster, and of course,

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I am a massive fan of Virginia Woolf. Her novel, To the Lighthouse,

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was voted one of the top 100 reads of the 20th century. It was

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Virginia who helped Duncan find Charleston, because she lived near

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by at the time. She wrote to Vanessa at the point she found the

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house. "The house is very nice, with large rooms, and one room with

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big windows, fit for a studio. The house once doing up, and the

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wallpapers are awful! But it sounds a most attractive place for, and

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only four miles from us, so you won't be badgered by us! "There's

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absolutely no doubt that they were drawn to Charleston because of the

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beauty of the surrounding However, there's another very good

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reason why they chose the farmhouse. Because Grant was a conscientious

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Moving to the Sussex farm in the middle of the First World War was

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one weight for Duncan to be sent to the front. This didn't go down well

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with the locals. In 1941, in the midst of the second world war,

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Work on a collection of paintings destined for the nearby church at

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Berwick. It was one way to build a bridge with their neighbours but

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with the Charleston household involved, controversy was never far

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Wow! This is amazing. It's been said before that looking into

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Berwick Church is a bit like stepping out of England and into

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Italy. I can certainly see why. It's not hard to imagine why these

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paintings came as a shock to the These two paintings here on the

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side are Vanessa's. Vanessa Bell. We've got, the denunciation, over

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here, which is Angelica, who's the model for Mary. And the very

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beautiful angel Gabriel his Angelika's best friend, who she met

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at drama school. She's called Chatty Salomon. Such a brilliant

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name! Over here, we've the Nativity, which is really lovely, and again

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we've Angelica as Mary, and apparently the model for the baby,

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the baby looks very much like Quentin and Julian Bell, Vanessa's

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I look at these and I think he must have been quite sad and quite

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poignant for Vanessa or to paint these, because it was only three

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years ago that she had lost her son Julian, who was of fighting in the

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Spanish Civil War. Of course, the junior war had only just taken her

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life as well. -- of the genial This must have stirred up lots of

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the motions as she was painting them. Behind me up here, we've

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Christ on the cross, which was painted by Duncan Grant. That's

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really striking and quite a scary image. They're Post-Impressionist

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colours, with the orange and the blue. A little bit frightening. In

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a funny kind of way, I prefer Vanessa's paintings. But over here,

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the huge one, and the one that knocks you for six as you come in,

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was Christ in Glory. Again painted by Duncan. I love this one as well.

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I like the voluptuous cherubs, again all models, all friends of

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Angelica's. It's really touching. I think it's an amazing thing to do.

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I am sorry that they upset some of the villagers, because I think

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Duncan Grant and Vanessa Bell were really trying hard to make amends

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So how on earth did this project get off the ground? We know that

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forward-thinking Bishop Bell commissioned Duncan and Vanessa to

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paint the murals, but why? Clues to their origins can be found in

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Eastbourne. Some of the original sketches are held at Towner, the

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Teri Hansen has invited me behind the scenes. They had quite a lot of

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baggage with them, didn't they? Vanessa Bell and Duncan Grant. I

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wondered whether the villagers didn't like the idea of wild,

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louche artists being let loose on their precious church. That had an

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impact. I think the worst thing was that they were known for that

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lifestyle. Yes, some of them were atheists, but don't forget they

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were pacifists. This was a very sensitive time politically for

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Britain. And they were being let into the church and painting the

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walls of a really ancient church. It goes back to the 12th century.

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But Bishop Bell was very adamant. He didn't want the Church to be

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like a mausoleum Or a traditional stone just standing there. It had

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to have a living purpose. That living purpose was to encourage

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parishioners to come in through very difficult and very unstable

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All they had to do was sit down in the pews and look around them, and

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see that Christian narrative just all round them. Just to look and

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read for themselves. In the beautiful colours. They made these

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small sketches. By I presumed they didn't immediately jump on to

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canvas. Did they do larger sketches? Yes they did, actually. I

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have more to show you over here. That exciting. On one of your

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racks? On one of my racks! Are you ready for this? I am! Oh my

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goodness! Look at that! Is this a life-size, or real to the size of

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Jesus in Berwick Church? Pretty much. It's quite different from the

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finished article. The original sketches were considered, Christ

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was considered to look too fleshy, to real, too attractive, too

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handsome, and the idea was to make We've the model, slightly

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contraposto there. He didn't quite get into the position that Duncan

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wanted. The story goes that he tied him to his easel and applaud him

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would lot of whisky until the So he had that look of... Drunk,

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basically. Yes. He's probably had a few there. And tied to his easel?!

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Tied to his easel until he finished. He was a devil! Hearing all the

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complications of his love life with Vanessa Bell, I'm surprised he

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isn't considered the villain of the story. No, never. Despite his many

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love affairs. He had relationships with Vanessa's family, didn't he?

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He did. He was quite notorious. He was faithful to Vanessa in his way.

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He always came home. A friend of Quentin's said that this made the

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home so perfect for him that he'd just want to come home. So he just

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went off. Yes, he had affairs with other men, but she accepted this,

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and loved him. I really believe that he loved her in his way. He

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was just so very attractive. He was a very attractive younger man. He

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just had this charisma. He was like the Cary Grant of Sussex. Nobody

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The Sussex that so influenced Duncan and Vanessa still inspires

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local artists today. I like to brush up on my painting skills, so

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I am joining a class in Lewes, where budding artists are having a

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go at oils. Today's subject is... Make it a little bit lighter. This

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artist is showing me the ropes. Keep working at an to you have much

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it. It is harder than it looks. But what is it about red that is so

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striking? Vanessa Bell and Duncan Grant's paintings. There's a lot of

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bright red. She loved wearing it. Sometimes what you wear... You

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think people can express themselves more in their colours -- paintings?

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When Devon League learning something. It has made me realise

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that when I do my own paintings when I get the chance, you can

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become quite obsessed with little tiny bits of it rather than looking

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at it as a whole. Vanessa Bell at - - and Duncan Grant were good at

:25:17.:25:24.

making these paintings that are fully of life, and beautiful marks

:25:24.:25:32.

with the paint brushes, and yet, they look quite detailed and... It

:25:33.:25:42.
:25:43.:25:43.

I do not like this bit. I have ruined that bit pull stop no, you

:25:43.:25:53.
:25:53.:26:09.

haven't. Don't worry about it. Stop fiddling. Leave it, leave it!

:26:09.:26:19.
:26:19.:26:22.

I had done. What do that. The myth. Well done, you! Not a bad start,

:26:22.:26:26.

but goodness knows what Vanessa and Duncan would have made of it. They

:26:26.:26:34.

were prolific artist, and there art was not confined to canvas. They

:26:34.:26:40.

painted ceramics, text dials and furniture. -- textiles. The

:26:40.:26:43.

Bloomsbury group set up this workshop as a design enterprise. It

:26:43.:26:48.

was not a huge success. The work was expensive and did did not last.

:26:48.:26:53.

But it did help to establish art in its own right. They were far ahead

:26:53.:26:59.

of their time. They were in the throes of a voyage of discovery.

:26:59.:27:04.

They were discovering Post- Impressionism. No one knew about it

:27:04.:27:14.
:27:14.:27:15.

until they brought across those Picasso, Matisse, Van Gogh. They

:27:15.:27:21.

were brought across to the horror of the British public, who describe

:27:21.:27:26.

them as a scrawling on the walls of a urinal. These are paintings that

:27:26.:27:32.

the queue up to see at the Tate Modern or wherever. One of the

:27:32.:27:36.

important things about Bloomsbury is that they were radical. They

:27:36.:27:45.

moved to Sussex. To move with your homosexual lover, and not your

:27:45.:27:50.

husband, was an extraordinary thing to do. They stood for toleration,

:27:50.:27:54.

for the reason, are for pass a prison, for friendship, it has

:27:54.:27:58.

taken us a long time to take to catch up. Thankfully, today, we

:27:58.:28:04.

live in a world that tolerate homosexuality, but tolerate

:28:04.:28:08.

minorities. We tolerate a lot of things that the boom Shreeve group

:28:08.:28:15.

tolerated first. I have come to end of my journey, and what a privilege

:28:15.:28:20.

to uncover so much of the art that is owned by you and me are the

:28:20.:28:24.

public collection. But I do wonder what on earth Duncan and and the

:28:24.:28:28.

LSO would have made of the fuss over their work. I do know, however,

:28:28.:28:30.

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