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Art Collections The Huntington Art Collections focus on two distinct areas—European art from the 15th to the early 20th century, and American art from the late 17th to the mid-20th century. The holdings are vast, with more than 36,000 works of art. The European collections are displayed in the Huntington Art Gallery, the original Huntington residence.

American art is on view in the Virginia Steele Scott Galleries of American Art. Temporary exhibitions are presented in the MaryLou and George Boone Gallery, and smaller, focused exhibitions are presented in the Works on Paper Room in the Huntington Art Gallery and in the Susan and Stephen Chandler Wing of the Scott Galleries. Not all of the collections are on display; includes highlights currently on view in the art galleries, and you can explore even more of the collections. The collection of 19th-century American art begins in the Scott Galleries with artists including Raphaelle Peale, George Caleb Bingham, and Eastman Johnson; and extends into the Erburu Gallery with the Huntington's strong collection of Hudson River School paintings by Frederic Edwin Church, Martin Johnson Heade, John Kensett and Albert Bierstadt. The late 19th-century galleries feature paintings by John Singer Sargent, Mary Cassatt, and William Merritt Chase; furniture by Herter Brothers; and silver by Tiffany & Company. Highlights of important 19th-century American sculpture include work by Augustus Saint-Gaudens, Chauncey Ives, Hiram Powers, Frederic Remington and Harriet Hosmer's monumental Zenobia in Chains.

The American art collection has a special emphasis on the Arts and Crafts Movement of the late 19th and early 20th centuries, displaying work by Charles Rohlfs, the Byrdcliffe Arts Colony, George Washington Maher, and the Roycrofters, and a dining room table and chairs designed by Frank Lloyd Wright. Twentieth-century American art is one of the most rapidly expanding areas of the collection. The reinstalled galleries feature paintings by George Bellows, John Sloan, Charles Sheeler, Edward Hopper, and Robert Motherwell; works on paper by Grant Wood and Joseph Cornell; sculpture by Paul Manship, William Hunt Diederich, and Elie Nadelman; an extensive collection of Stuben glass; silver by California-based silversmith Allan Adler; and ceramics by Glen Lukens. The Jonathan and Karin Fielding Wing expansion to the Scott Galleries adds 5,000 square feet of gallery space with dramatic, colorful displays that highlight early American paintings, furniture, and works of decorative art, and offer visitors important insights into the history of American art practice. The exhibition, 'Becoming America,' showcases more than 200 works from the Fieldings' collection of 18th- and early 19th-century American art works. In its rich diversity, the Fielding Collection offers a rare opportunity to explore early American history through objects made for daily use and through images of the people who used them.

The Susan and Stephen Chandler Wing of the Virginia Steele Scott Galleries of American Art serve as a space for temporary exhibitions concentrating on American painting, decorative arts, and works on paper. The Dorothy Collins Brown Wing of the Scott Gallery continues to be devoted to the work of early 20th-century Pasadena architects Charles and Henry Greene. European Art The Huntington's European art collection encompasses a broad range of styles, cultures and media, from antiquity to the twentieth century.

It features one of the most significant collections of British art outside the United Kingdom, including important holdings of 18th- and 19th-century sculpture, as well as decorative arts from 15th-century silver through the 19th- and early 20th-century designs of William Morris and his followers. Famous for its collection of grand manner portraits, it is also distinguished by important examples of 19th-century landscape painting by Constable and Turner, and 17th-century portraiture by Peter Lely and Anthony van Dyck.

Dust jacket designed by Vanessa Bell for the first edition of Virginia Woolf's To the Lighthouse, published by the Hogarth Press in 1927. Between the Covers Rare Books, Merchantville, NJ In two 1927 essays, “ The Art of Fiction” and “ The New Biography,” she wrote that fiction writers should be less concerned with naive notions of reality and more with language and design. However restricted by fact, she argued, biographers should yoke truth with imagination, “granite-like solidity” with “rainbow-like intangibility.” Their relationship having cooled by 1927, Woolf sought to reclaim Sackville-West through a “biography” that would include Sackville family history. Woolf solved biographical, historical, and personal dilemmas with the story of, who lives from Elizabethan times through the entire 18th century; he then becomes female, experiences debilitating gender constraints, and lives into the 20th century. Orlando begins writing poetry during the Renaissance, using history and mythology as models, and over the ensuing centuries returns to the poem “The Oak Tree,” revising it according to shifting poetic conventions. Woolf herself writes in mock-heroic imitation of biographical styles that change over the same period of time.

Thus, (1928) exposes the artificiality of both gender and genre prescriptions. However fantastic, Orlando also argues for a novelistic approach to biography. In 1921 John Maynard Keynes had told Woolf that her “on George,” presented to the Memoir Club that year or a year earlier, represented her best writing. Afterward she was increasingly angered by masculine condescension to female talent.

In (1929), Woolf blamed women’s absence from history not on their lack of brains and talent but on their poverty. For her 1931 talk “Professions for Women,” Woolf studied the history of women’s education and employment and argued that unequal opportunities for women negatively affect all of society. She urged women to destroy the “angel in the house,” a reference to ’s poem of that title, the quintessential Victorian paean to women who sacrifice themselves to men. Having praised a 1930 exhibit of Vanessa Bell’s paintings for their wordlessness, Woolf planned a mystical novel that would be similarly impersonal and abstract. In (1931), poetic interludes describe the sea and sky from dawn to dusk.

Between the interludes, the voices of six named characters appear in sections that move from their childhood to. In the middle section, when the six friends meet at a farewell dinner for another friend leaving for India, the single flower at the centre of the dinner table becomes a “seven-sided flowera whole flower to which every eye brings its own contribution.” The Waves offers a six-sided shape that illustrates how each individual experiences events—including their friend’s death—uniquely.

Bernard, the writer in the group, narrates the final section, defying death and a world “without a self.” Unique though they are (and their can be identified in the Bloomsbury group), the characters become one, just as the sea and sky become indistinguishable in the interludes. This oneness with all creation was the primal experience Woolf had felt as a child in Cornwall. In this her most experimental novel, she achieved its poetic equivalent. Through To the Lighthouse and The Waves, Woolf became, with and, one of the three major English-language experimenters in writing.

Dust jacket designed by Vanessa Bell for the first edition of Virginia Woolf's The Waves, published by the Hogarth Press in 1931. Between the Covers Rare Books, Merchantville, NJ Late work From her earliest days, Woolf had framed experience in terms of oppositions, even while she longed for a holistic state beyond binary divisions. The “perpetual marriage of granite and rainbow” Woolf described in her essay “The New Biography” typified her approach during the 1930s to individual works and to a balance between writing works of fact and of imagination. Even before finishing The Waves, she began compiling a scrapbook of clippings illustrating the horrors of war, the threat of, and the oppression of women. The against women that Woolf had discussed in A Room of One’s Own and “Professions for Women” inspired her to plan a book that would trace the story of a fictional family named Pargiter and explain the social conditions affecting family members over a period of time. In The Pargiters: A Novel-Essay she would alternate between sections of fiction and of fact.

For the fictional historical narrative, she relied upon experiences of friends and family from the Victorian Age to the 1930s. For the essays, she researched that 50-year span of history. The task, however, of moving between fiction and fact was. Woolf took a holiday from The Pargiters to write a mock biography of Flush, the dog of poet. Lytton Strachey having recently died, Woolf muted her spoof of his biographical method; nevertheless, Flush (1933) remains both a biographical satire and a lighthearted exploration of perception, in this case a dog’s. In 1935 Woolf completed Freshwater, an absurdist drama based on the life of her great-aunt. Featuring such other eminences as the poet Alfred, Lord Tennyson, and the painter, this riotous play satirizes high-minded Victorian notions of art.

Meanwhile, Woolf feared she would never finish The Pargiters. Alternating between types of prose was proving cumbersome, and the book was becoming too long. She solved this dilemma by the essay sections, keeping the family narrative, and renaming her book The Years. She narrated 50 years of family history through the decline of class and patriarchal systems, the rise of feminism, and the threat of another war.

Desperate to finish, Woolf lightened the book with poetic echoes of gestures, objects, colours, and sounds and with wholesale deletions, cutting for Eleanor Pargiter and explicit references to women’s bodies. The novel illustrates the damage done to women and society over the years by sexual repression, ignorance, and discrimination.

Though (or perhaps because) Woolf’s trimming muted the book’s radicalism, The Years (1937) became a. When Fry died in 1934, Virginia was distressed; Vanessa was devastated. Then in July 1937 Vanessa’s elder son, Julian Bell, was killed in the while driving an ambulance for the Republican army. Vanessa was so disconsolate that Virginia put aside her writing for a time to try to comfort her sister. Privately a lament over Julian’s death and publicly a against war, (1938) proposes answers to the question of how to prevent war. Woolf connected masculine symbols of authority with militarism and, an argument buttressed by notes from her clippings about aggression, fascism, and war.

Still distressed by the deaths of Roger Fry and Julian Bell, she determined to test her theories about experimental, novelistic biography in a life of Fry. As she acknowledged in “The Art of Biography” (1939), the recalcitrance of evidence brought her near despair over the possibility of writing an imaginative biography. Against the “grind” of finishing the Fry biography, Woolf wrote a verse play about the history of. Her next novel, Pointz Hall (later retitled ), would include the play as a pageant performed by villagers and would convey the gentry’s varied reactions to it. As another holiday from Fry’s biography, Woolf returned to her own childhood with “ A Sketch of the Past,” a memoir about her mixed feelings toward her parents and her past and about memoir writing itself.

(Here surfaced for the first time in writing a memory of the teenage Gerald Duckworth, her other half brother, touching her inappropriately when she was a girl of perhaps four or five.) Through last-minute borrowing from the letters between Fry and Vanessa, Woolf finished her biography. Though convinced that Roger Fry (1940) was more granite than rainbow, Virginia congratulated herself on at least giving back to Vanessa “her Roger.” Woolf’s chief against, and her own despair was writing. During the bombing of London in 1940 and 1941, she worked on her memoir. In her novel, war threatens art and humanity itself, and, in the interplay between the pageant—performed on a June day in 1939—and the audience, Woolf raises questions about perception and response. Despite Between the Acts’s affirmation of the value of art, Woolf worried that this novel was “too slight” and indeed that all writing was irrelevant when seemed on the verge of invasion and civilization about to slide over a. Facing such horrors, a depressed Woolf found herself unable to write.

The demons of self-doubt that she had kept at bay for so long returned to haunt her. On March 28, 1941, fearing that she now lacked the to battle them, she walked behind Monk’s House and down to the River Ouse, put stones in her pockets, and drowned herself.

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Between the Acts was published posthumously later that year. Legacy Woolf’s experiments with point of view confirm that, as Bernard thinks in The Waves, “we are not single.” Being neither single nor fixed, perception in her novels is fluid, as is the world she presents. While Joyce and Faulkner separate one character’s interior monologues from another’s, Woolf’s narratives move between inner and outer and between characters without clear demarcations. Furthermore, she avoids the self-absorption of many of her contemporaries and implies a brutal society without the explicit details some of her contemporaries felt obligatory. Her nonlinear forms invite reading not for neat solutions but for an resolution of “shivering fragments,” as she wrote in 1908.

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While Woolf’s fragmented style is distinctly Modernist, her indeterminacy anticipates a postmodern awareness of the evanescence of boundaries and categories.