By James Wilkes (auth.)
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Additional info for A Fractured Landscape of Modernity: Culture and Conflict in the Isle of Purbeck
58 Moore provided Fry and Bell with an intellectual 28 A Fractured Landscape of Modernity framework which permitted them to value works of art as ‘a class of objects so powerful and direct as means to spiritual exaltation that all minor merits are inconsiderable’, as Bell wrote in his popular book Art,59 and furnished them with a morality which valued the effect produced by an artwork on a single individual as a good in itself, over and above any social effects it might have. This philosophical justiﬁcation seems to have been enough for Clive Bell.
Her latter two Dorset novels, 43 44 A Fractured Landscape of Modernity Armed With Madness (1928) and its sequel Death of Felicity Taverner (1932), both recognisably feature the house and its surroundings, described by Butts in a letter to Glenway Westcott in 1923 as a ‘place where a wood shaped like a narrow fan runs up from the sea. 5 The house and its “sacred wood” is set in a bowl cut off from the outside world by double ramparts: a ridge of limestone that curves behind it and sweeps east to Swyre Head, and a chalk down beyond that, studded with tumuli and a hill fort.
I see how easy it would be to turn out yards of very fanciful and bright and piquant things, and I don’t see what else that couple [Hudson and Sands] can do. 116 The charge of prettiness and creepiness cannot be put down to clique prejudices either: in the next paragraph Bell went on to confess to a sudden awful doubt about the quality of Duncan Grant’s painting as well. She admitted to thinking that he had never since done anything nearly as good as the early one we have [Lemon Gatherers from 1910], that the Queen of Sheba was not only a failure because he had gone on and spoilt it, but that the whole conception was really sweet and too pretty and small [ .
A Fractured Landscape of Modernity: Culture and Conflict in the Isle of Purbeck by James Wilkes (auth.)