Critic Jane Hill
notes that though Carrington entered the Slade at a remarkable period in its own history (Henry Tonks
called it a second, and last, crisis of brilliance)
Birne, Eleanor. “At Dulwich Picture Gallery”. London Review of Books, Vol.
35
, No. 17, 12 Sept. 2013, p. 37.
and in that of...
Literary responses
Dora Carrington
Before she began painting, Carrington mused in a letter to Lytton Strachey about what she had seen: Doré
, or Blake
could hardly have conceived anything more frenzied.
Hill, Jane, and Michael Holroyd. The Art of Dora Carrington. Herbert Press, 1994.
86
Jane Hill
finds in the work...
Textual Features
Dora Carrington
Critic Jane Hill
argues that with this work, Carrington established her voice as uniquely, identifiably her own.
Hill, Jane, and Michael Holroyd. The Art of Dora Carrington. Herbert Press, 1994.
32
Hill connects the pose and surroundings of the subject with elements both of Carrington's 1915 portrait of...
Textual Production
Dora Carrington
Her penmanship is evocative, and her words are accompanied by striking illustrations: Jane Hill
suggests that in some of her images Carrington anticipates the comic violence of Charlie Chaplin
and Walt Disney
's Mickey Mouse...
Textual Production
Dora Carrington
At Ham Spray in 1928, DC
depicted Adam and Eve in a mosaic around Lytton Strachey
's bedroom fireplace; this image was later replaced with Boris Anrep
's painted hermaphrodite (which according to critic Jane Hill
Timeline
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Texts
Holroyd, Michael, and Jane Hill. “Foreword”. The Art of Dora Carrington, Herbert Press, 1994, pp. 7-9.
Hill, Jane, and Michael Holroyd. The Art of Dora Carrington. Herbert Press, 1994.