Caws, Mary Ann, and Sarah Bird Wright. Bloomsbury and France: Art and Friends. Oxford University Press, 2000.
344
Mary Ann Caws
Standard Name: Caws, Mary Ann
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Literary responses | Dorothy Bussy | DB
first wrote Olivia in 1933 and then sent the manuscript to her friend André Gide
. Gide found it not very engaging |
| Literary responses | Dora Carrington | Mary Ann Caws
asserts that Carrington has the art and the genius of personalizing everything, and calls her personal art . . . at once disquieting and convincing. Caws, Mary Ann. Women of Bloomsbury: Virginia, Vanessa, and Carrington. Routledge, 1990. 138 |
| Reception | Dora Carrington | Michael Tatham
and Mary Ann Caws
have each written about DC
in Cecil Woolf
's Bloomsbury Heritage pamphlets. |
| Reception | Vita Sackville-West | Some revival is suggested by the appearance of her Selected Writings, 2002, edited by Mary Ann Caws
. |
| Textual Production | Dorothy Bussy | The volume contains 267 of the more than one thousand extant letters between Bussy and Gide, translated from French into English. The first volume of their Correspondance had been published in Paris in 1980. In... |
| Textual Production | Dora Carrington | Carrington
painted Tidmarsh Mill, inspired by the house she had recently moved into with author Lytton Strachey
; critic Mary Ann Caws
calls the work Carrington's unchallenged masterpiece. Caws, Mary Ann. Women of Bloomsbury: Virginia, Vanessa, and Carrington. Routledge, 1990. 149 Hill, Jane, and Michael Holroyd. The Art of Dora Carrington. Herbert Press, 1994. 56 |
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