By Tijonov Samarsky
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As for Van Gogh’s madness, Fry observes ‘how rare it is to see God and live,’ adding blasphemy to socialist criticism and aesthetic outrage for his critics (Fry, ‘Grafton’, pp. 120–4, 129–32). At the close of the first exhibition, Fry gave a lecture on post-impressionism which he published in the distinguished Fortnightly Review. Here he now writes of art in terms that will become associated with Bloomsbury’s aesthetics. Beginning with a plea for tolerance, Fry addresses himself neither to his supporters nor to his villifiers but to those puzzled by the pictures.
There he defended the exhibition against the charges of barbarism, described how Gauguin’s famous L’Esprit des Morts qui Veille should be viewed as a decorative painting, and explained the humanity of Van Gogh’s portraits. Then he added 18 Georgian Bloomsbury a new subject of discussion that would now recur in much subsequent Bloomsbury writings on post-impressionism: he criticised the cultured classes at the exhibition who looked on art merely as a beautiful background for their lives. MacCarthy continued to interest himself in post-impressionism for the next few years and after that would write an occasional piece on art, although as a literary critic he would begin to have doubts about the significance of formalism for literature.
Leonard Woolf does not seem to have changed his opinion about Mallarmé’s (and Fry’s) severe literary formalism, though as Virginia Woolf’s husband, he would probably have wanted to modify his observation that ‘a creative artist is never likely to be a good critic or aesthetic philosopher’ (‘Stéphane Mallarmé’). VII Compared with some of their friends, however, Bloomsbury’s interest in Unanimism had its limits, as MacCarthy showed in his dismissal of Bergson’s philosophy. The limits of Bloomsbury’s enthusiasm for Unanimism and Bergson were largely determined by their Cambridge philosophical education.
Ecuaciones de La Fisica matematica by Tijonov Samarsky
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