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Published online by Cambridge University Press: 02 December 2020
The fact that Roger Fry and Virginia Woolf were friends and colleagues in the realm of art needs no demonstration. Not only were they closely associated for many years as members of “the Bloomsbury Group,” but the Hogarth Press, established by the Woolfs in Tavistock Square, published some of Fry's essays. After Fry's death in 1934, it was Virginia Woolf who, at the request of Fry's sister, became his biographer. This portrait of the critic was undertaken, says Margery Fry in the “Foreword” addressed to Mrs. Woolf, as a result of “one of those discussions upon the methods of the arts which illuminated his long and happy friendship with you.”
1 Roger Fry, “An Essay in Aesthetics,” Vision and Design, pp. 31-32.
2 Virginia Woolf, Roger Fry, p. 164.
3 Ibid., p. 172.
4 Kenneth Clark, Introduction to Roger Fry: Last Lectures, p. xiii.
5 Roger Fry, “Giotto,” in Vision and Design, p. 112.
6 Roger Fry, The Artist and Psychoanalysis, p. 19.
7 Ibid., p. 19.
8 Roger Fry, “Some Questions in Esthetics,” Transformations, p. 3.
9 Kenneth Clark, op. cit., p. xvi.
10 Virginia Woolf, Roger Fry, p. 177.
11 See my essay “Toward Virginia Woolf,” Virginia Quarterly, x, 587-602.
12 Roger Fry, “The Artist's Vision,” Vision and Design, p. 48.
13 Roger Fry, The Artist and Psychoanalysis, p. 19.
14 Ibid., p. 19. For clarity it seems wise to emend the last sentence in this quotation to read, “by its revelation of an emotional significance in the relationship between time and space.” The emended statement is the basis for what immediately follows in this paper.
15 The meaning of these words is developed in my essay “Toward Virginia Woolf,” Virginia Quarterly, x, 587-602. Mrs. Woolf in a personal letter on this article gave general approval of my interpretation, with the added caveat that I attributed to her too much “consciousness” of purpose.
16 Vision and Design, pp. 71-75. Originally published in the Athenaeum in 1919.
17 Begun in 1924, the year before Mrs. Dalloway appeared, though not published in full until 1927.
18 Roger Fry, Cézanne, p. 44.
19 Ibid., p. 47.
20 Ibid., p. 51.
21 Roger Fry, Characteristics of French Art, p. 145.
22 Ibid., p. 146.
23 Ibid., p. 146.
24 Roger Fry, “Some Questions in Esthetics,” Transformations, p. 9.
25 Virginia Woolf, Roger Fry, pp. 258-259.
26 Roger Fry, “Some Questions in Esthetics,” Transformations, p. 8.
27 Roger Fry, The Artist and Psychoanalysis, p. 17.
28 Ibid., p. 9.
29 To the Lighthouse, p. 62, and again on p. 65.
30 Ibid., p. 92.
31 Ibid., pp. 95-96.
32 Ibid., pp. 146-147.
33 Ibid., p. 96.
34 Ibid., p. 81.
35 Ibid., pp. 82-83.
36 Ibid., p. 140.
37 Ibid., p. 221.
38 Ibid., p. 236.
39 Ibid., p. 238.
40 Ibid., pp. 239-240.
41 Ibid., p. 241.
42 Ibid., p. 310.
43 Virginia Woolf, Roger Fry, p. 245.
44 See Daiches, Virginia Woolf, pp. 87-88 for a discussion of color symbolism in this novel.