Dimensions: support: 913 x 832 mm frame: 1068 x 990 x 80 mm
Copyright: © The estate of Duncan Grant | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Duncan Grant’s "Garden Path in Spring," currently at the Tate. I’m struck by how the path draws your eye into the garden’s depths. What’s your interpretation? Curator: Considering Grant's Bloomsbury Group affiliation, this garden becomes more than just a landscape; it's a cultivated space, reflecting the group's aesthetic ideals and their social values. The path, almost stage-like, hints at performance and cultivated beauty. Editor: So, you’re saying the garden is a kind of stage for the Bloomsbury set’s ideals? Curator: Precisely. It makes you wonder about the relationship between the private gardens and the public image the Bloomsbury Group projected. Editor: I never thought of it that way. Seeing the garden as a reflection of their public role adds another layer to the painting. Curator: Indeed, it’s a garden of cultivated ideas, as much as cultivated flora.
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http://www.tate.org.uk/art/artworks/grant-garden-path-in-spring-t05757
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Flowers were a major subject in Grant's later work. The garden represented is that at Charleston farmhouse, near Firle in Sussex, which he shared with the painter Vanessa Bell and where he lived and worked from 1916 until his death. Charleston, its interior decorated by Grant and Bell and its garden developed and frequently recorded by them in their paintings, became a meeting place for artists and writers in the Bloomsbury circle. The house and garden have recently been restored and opened to the public. Gallery label, August 2004
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