Roger Fry (1928 self-portrait)

Roger Eliot Fry (14 December 1866 – 9 September 1934) was an English artist and art critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. He was the first figure to raise public awareness of modern art in Britain, and emphasized the formal properties of paintings over the "associated ideas" conjured in the viewer by their depicted content. He was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin... In so far as taste can be changed by one man, it was changed by Roger Fry".^[1]

Life[link]

River with Poplars, circa 1912, Tate Gallery.

Born in London, the son of the judge Edward Fry, he grew up in a wealthy Quaker family in Highgate. Before going up to Cambridge, Fry was educated at Clifton College. Fry studied at King's College, Cambridge,^[2] where he was a member of the Cambridge Apostles. After taking a first in the Natural Science tripos, he went to Paris and then Italy to study art. Eventually he specialised in landscape painting.

In 1896, he married the artist Helen Coombe and they subsequently had two children, Pamela and Julian. However, Helen soon became seriously mentally ill. In 1910, she was committed to a mental institution, where she remained for the rest of her life. Fry took over the care of their children with the help of his sister, Joan Fry. That same year, Fry met the artists Vanessa Bell and her husband Clive Bell, and it was through them that he was introduced to the Bloomsbury Group. Vanessa's sister, the author Virginia Woolf later wrote in her biography of Fry: ‘He had more knowledge and experience than the rest of us put together'. The artist William Rothenstein, however, observed around the same time that he considered Fry ‘a bit crazy’.^[3]

In 1911, Fry began an affair with Vanessa Bell, who was then experiencing a difficult recovery from the birth of her son Quentin. Fry offered her the tenderness and care she felt was lacking from her husband. They remained lifelong close friends, even though Roger's heart was broken in 1913 when Vanessa fell in love with Duncan Grant and decided to live permanently with him.

After short affairs with such artists as Nina Hamnett and Josette Coatmellec, Roger too found happiness with Helen Maitland Anrep. She became his emotional anchor for the rest of his life, although they never married (she too had had an unhappy first marriage, to the mosaicist Boris Anrep).

Fry died very unexpectedly due to a fall at his home. His death caused great sorrow among the members of the Bloomsbury Group, who loved him for his generosity and warmth. Vanessa Bell decorated his casket before he was buried at Kings College Chapel in Cambridge. Virginia Woolf, Vanessa's sister, novelist and a close friend of Roger as well, was entrusted with writing his biography, published in 1940.

Career[link]

In the 1900s, Fry started to teach art history at the Slade School of Fine Art, University College London.

In 1903 Fry was involved in the foundation of the Burlington Magazine the first scholarly periodical dedicated to art history in Britain. Fry was its co-editor between 1909 and 1919 (first with Lionel Cust, then with Cust and More Adey) but his influence on the Burlington Magazine continued until his death: Fry was in the Consultative Committee of the Burlington since its beginnings and when he left the editorship, following a dispute with Cust and Adey regarding the editorial policy on modern art, he was able to use his influence on the Committee to choose the successor he considered appropriate, Robert Rattray Tatlock. ^[4] Fry wrote for the Burlington from 1903 until his death: he published over two hundred pieces of eclectic subjects - from Children's drawings to Bushman art. From the pages of the Burlington it is also possible to follow Fry's growing interests for Post-Impressionism.

In 1906 Fry was appointed Curator of Paintings at the Metropolitan Museum of Art in New York. This was also the year in which he "discovered" the art of Paul Cézanne, beginning the shift in his scholarly interests away from the Italian Old Masters and towards modern French art.

In November 1910, Fry organised the exhibition Manet and the Post-Impressionists (a term which he coined) at the Grafton Galleries, London. This exhibition was the first to prominently feature Gaugin, Manet, Matisse, and Van Gogh in England and brought their art to the public. Virginia Woolf later said, "On or about December 1910 human character changed," referring to the effect this exhibit had on the world. Fry followed it up with the Second Post-Impressionist Exhibition in 1912. It was patronised by Lady Ottoline Morrell, with whom Fry had a fleeting romantic attachment.

In 1913 he founded the Omega Workshops, a design workshop based in London's Fitzroy Square, whose members included Vanessa Bell and Duncan Grant. A Blue plaque was inveiled in Fitzroy Square on 20 May 2010.

In 1933, he was appointed the Slade Professor at Cambridge, a position that Fry had much desired.

Works[link]

• Vision and Design (1920), see: formal analysis
• Heresies of an Artist (1921)
• Transformations (1926)
• Cézanne. A Study of His Development (1927)
• Henri Matisse (1930)
• French Art (1932)
• Reflections on British Painting (1934)

References[link]

• Virginia Woolf, Roger Fry: a biography (1940) ISBN 0-15-678520-X
• Denys Sutton, Letters of Roger Fry (1972) ISBN 0-7011-1599-9
• Frances Spalding, Roger Fry, art and life (1980) ISBN 0-520-04126-7
• David Boyd Haycock. "A Crisis of Brilliance: Five Young British Artists and the Great War" (2009)
• Christopher Reed, A Roger Fry Reader (1996) ISBN 0-226-26642-7

External links[link]

Wikimedia Commons has media related to: Roger Fry

• Roger Fry at artcyclopedia.com
• Roger Fry' s biography in the Burlington Magazine

Margery Fry (11 March 1874 – 21 April 1958) was a British prison reformer as well as one of the first women to become a magistrate.

Margery Fry was born in London, the eighth child of Sir Edward Fry and his wife, Mariabella Hodgkin (1833–1930), who were Quakers. She was educated at home until, at the age of 17, she went to Miss Lawrence's school at Brighton (later named Roedean School). Her parents did not intend her to go to university but eventually allowed her to go to Somerville College at Oxford in 1894 to read Mathematics. (Her brother, the artist Roger Fry, apparently wanted her to do painting instead). After three years at university she returned to her parents' home, staying with them until 1899 when she became Librarian at Somerville (1899–1904). In 1904, she became Warden of the new women's residence at Birmingham University (initially at an annual salary of £60). In 1913, she became financially independent after the death of her uncle Joseph Storrs Fry and in 1914 left her position at Birmingham. From 1915 onwards, she helped organize Quaker relief efforts in the Marne war area, and later elsewhere in France.

After the First World War, she lived with her brother Roger and began the work on prison reform in which she was to be involved until the end of her life. In 1918, she became secretary of the Penal Reform League, which merged with the Howard Association in 1921 to form the Howard League for Penal Reform; she was secretary of the combined organisation until 1926. In 1919 she was appointed to the newly founded University Grants Committee on which she served until 1948. In 1921 she was appointed a magistrate, one of the first women magistrates in Britain. In 1922 she was appointed education advisor to Holloway Prison (a prison for women in London).

From 1926 to 1930, she was Principal of Somerville College. She was also a governor of the BBC from 1937 to 1939 and a participant in The Brains Trust series starting in 1942. The Graduate (Middle Common Room, or MCR) accommodation building at Somerville College is called Margery Fry House in her honour.

She is also known for her opposition to the death penalty and her support of compensation for victims of crimes.

Margery Fry who was Director of the Howard League for Penal Reform from its foundation in 1921 until 1926. She also served as Chair of the league's Council from 1926 to 1929. In 1990, the Margery Fry Award was established in her honour. ^[1]

Fry Housing Trust was established in 1959 in memory of Margery Fry. Find out more at www.fryha.org.uk

References[link]

Bibliography[link]

• Margery Fry: The Essential Amateur by Enid Huws Jones, Oxford University Press. 1966.
• "Margery Fry", Oxford Dictionary of National Biography. Written by Thomas L. Hodgkin, rev. Mark Pottle. doi:10.1093/ref:odnb/33286

External links[link]

• Margery Fry, 1874–1958: a lecture given on Friday July 5th, 1974, at the University of Birmingham to celebratethe centenary of the birth of Margery Fry, by Janet Vaughan. Published in 1974, Margery Fry Memorial Trust (Birmingham).

Virginia Woolf
Born	Adeline Virginia Stephen (1882-01-25)25 January 1882 Kensington, London, England, UK
Died	28 March 1941(1941-03-28) (aged 59) River Ouse, near Lewes, East Sussex, England
Occupation	Novelist, Essayist, Publisher, Critic
Notable work(s)	To the Lighthouse, Mrs Dalloway, Orlando: A Biography, A Room of One's Own
Spouse(s)	Leonard Woolf (m. 1912–1941; her death)
Influences William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Bronte, Daniel Defoe, James Joyce, E. M. Forster

Adeline Virginia Woolf (/ˈwʊlf/; 25 January 1882 – 28 March 1941) was an English writer, regarded as one of the foremost modernist literary figures of the twentieth century.

During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."

Early life[link]

Photographic portrait of Julia Stephen, mother of Woolf, by Julia Margaret Cameron, Julia's aunt

Virginia Woolf was born Adeline Virginia Stephen in London in 1882 to Sir Leslie Stephen and Julia Prinsep Stephen (née Jackson).

Virginia's father, Sir Leslie Stephen (1832–1904), was a notable historian, author, critic and mountaineer.^[1] He was the editor of the Dictionary of National Biography, a work that would influence Woolf's later experimental biographies.

Virginia's mother Julia Stephen (1846–1895) was a renowned beauty, born in India to Dr. John and Maria Pattle Jackson. She was also the niece of Julia Margaret Cameron née Pattle, the famous photographer. Julia moved to England with her mother, where she served as a model for Pre-Raphaelite painters such as Edward Burne-Jones.^[2]

Woolf was educated by her parents in their literate and well-connected household at 22 Hyde Park Gate, Kensington. Her parents had each been married previously and been widowed, and, consequently, the household contained the children of three marriages. Julia had three children by her first husband, Herbert Duckworth: George, Stella, and Gerald Duckworth. Leslie first married Harriet Marian (Minny) Thackeray (1840–1875), the daughter of William Thackeray, and they had one daughter: Laura Makepeace Stephen, who was declared mentally disabled and lived with the family until she was institutionalised in 1891.^[3] Leslie and Julia had four children together: Vanessa Stephen (1879), Thoby Stephen (1880), Virginia (1882), and Adrian Stephen (1883).

Sir Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray, meant that his children were raised in an environment filled with the influences of Victorian literary society. Henry James, George Henry Lewes, and her honorary godfather, James Russell Lowell, were among the visitors to the house. Julia Stephen was equally well connected. Descended from an attendant of Marie Antoinette,^{[citation needed]} she came from a family of beauties who left their mark on Victorian society as models for Pre-Raphaelite artists and early photographers, including her aunt Julia Margaret Cameron who was also a visitor to the Stephen household. Supplementing these influences was the immense library at the Stephens' house, from which Virginia and Vanessa were taught the classics and English literature. Unlike the girls, their brothers Adrian and Julian (Thoby) were formally educated and sent to Cambridge, a difference which Virginia would resent. The sisters did, however, benefit indirectly from their brothers' Cambridge contacts, as the boys brought their new intellectual friends home to the Stephens' drawing room.^{[citation needed]}

Julia Prinsep Stephen portrayed by Edward Burne-Jones, 1866

According to Woolf's memoirs, her most vivid childhood memories were not of London but of St. Ives in Cornwall, where the family spent every summer until 1895. The Stephens' summer home, Talland House, looked out over Porthminster Bay, and is still standing today, though somewhat altered. Memories of these family holidays and impressions of the landscape, especially the Godrevy Lighthouse, informed the fiction Woolf wrote in later years, most notably To the Lighthouse.

The sudden death of her mother in 1895, when Virginia was 13, and that of her half-sister Stella two years later, led to the first of Virginia's several nervous breakdowns. She was, however, able to take courses of study (some at degree level) in Greek, Latin, German and history at the Ladies’ Department of King’s College London between 1897 and 1901, and this brought her into contact with some of the early reformers of women’s higher education such as Clara Pater, George Warr and Lilian Faithfull (Principal of the King’s Ladies’ Department and noted as one of the Steamboat ladies).^[4] Her sister Vanessa also studied Latin, Italian, art and architecture at King’s Ladies’ Department.

The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised.^[3] Modern scholars (including her nephew and biographer, Quentin Bell) have suggested^[5] her breakdowns and subsequent recurring depressive periods were also influenced by the sexual abuse to which she and her sister Vanessa were subjected by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays A Sketch of the Past and 22 Hyde Park Gate).

Throughout her life, Woolf was plagued by periodic mood swings and associated illnesses. Though this instability often affected her social life, her literary productivity continued with few breaks throughout her life.

Bloomsbury[link]

The Dreadnought Hoaxers in Abyssinian regalia; Virginia Woolf is the bearded figure on the far left

After the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 Hyde Park Gate and bought a house at 46 Gordon Square in Bloomsbury.

Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Saxon Sydney-Turner, Duncan Grant, Leonard Woolf, John Maynard Keynes, and Roger Fry, who together formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the Hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). In 1907 Vanessa married Clive Bell, and the couple's interest in avant garde art would have an important influence on Woolf's development as an author.^[6]

Virginia Stephen married writer Leonard Woolf on the 10th August, 1912.^[7] Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew") the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making – after 25 years can’t bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." The two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others.^[8] The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell.

A portrait of Woolf by Roger Fry c. 1917

The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and in 1922 she met the writer and gardener Vita Sackville-West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship, which, according to Sackville- West, was only twice consummated.^[9] In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both genders. Nigel Nicolson, Vita Sackville-West's son, wrote "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her".^[10] After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of an illness at the age of 26.

Work[link]

Woolf began writing professionally in 1900, initially for the Times Literary Supplement with a journalistic piece about Haworth, home of the Brontë family.^[11] Her first novel, The Voyage Out, was published in 1915 by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally entitled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life.^[12]

Lytton Strachey and Woolf at Garsington, 1923.^[13]

Woolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the Hogarth Press. She has been hailed as one of the greatest novelists of the twentieth century and one of the foremost modernists.^[14]

Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. Woolf's reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist criticism in the 1970s.^[15]

Woolf's work was criticised for epitomising the narrow world of the upper-middle class English intelligentsia. Some critics judged it to be lacking in universality and depth,^{[citation needed]} without the power to communicate anything of emotional or ethical relevance to the disillusioned common reader,^{[citation needed]} weary of the 1920s aesthetes. She was also criticised by some as an anti-Semite, despite her being happily married to a Jewish man. This anti-semitism is drawn from the fact that she often wrote of Jewish characters in stereotypical archetypes and generalisations, including describing some of her Jewish characters as physically repulsive and dirty.^[16] The overwhelming and rising 1920s and 30s anti-Semitism possibly influenced Virginia Woolf. She wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." However, in a 1930 letter to the composer Ethel Smyth, quoted in Nigel Nicolson's biography Virginia Woolf, she recollects her boasts of Leonard's Jewishness confirming her snobbish tendencies, "How I hated marrying a Jew- What a snob I was, for they have immense vitality."^[17] In another letter to Smyth, Virginia gives a scathing denunciation of Christianity, seeing it as self-righteous "egotism" and stating "my Jew has more religion in one toe nail—more human love, in one hair."^[18] Virginia and her husband Leonard Woolf actually hated and feared 1930s fascism with its anti-semitism knowing they were on Hitler's blacklist. Her 1938 book Three Guineas was an indictment of fascism.^[19]

Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: Woolf is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.^[19]

The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings – often wartime environments – of most of her novels. For example, Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars.^[20]

To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them.^[21]

Orlando (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without aging much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked.^[22]

The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centered novel.^[23]

"Flush: A Biography" (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play, The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by actress Katharine Cornell.

Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history. This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.^[24] While Woolf's work can be understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G. E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals.^[25]

Woolf's works have been translated into over 50 languages, by writers such as Jorge Luis Borges and Marguerite Yourcenar.

Death[link]

After completing the manuscript of her last (posthumously published) novel, Between the Acts, Woolf fell into a depression similar to that which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work.^[13] On 28 March 1941, Woolf put on her overcoat, filled its pockets with stones, and walked into the River Ouse near her home and drowned herself. Woolf's body was not found until 18 April 1941.^[26] Her husband buried her cremated remains under an elm in the garden of Monk's House, their home in Rodmell, Sussex.

In her last note to her husband she wrote:

Modern scholarship and interpretations[link]

Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer. Controversially, Louise A. DeSalvo reads most of Woolf's life and career through the lens of the incestuous sexual abuse Woolf suffered as a young woman in her 1989 book Virginia Woolf: The Impact of Childhood Sexual Abuse on her Life and Work.

Woolf's fiction is also studied for its insight into shell shock, war, class and modern British society. Her best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties female writers and intellectuals face because men hold disproportionate legal and economic power and the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield—who have explored "the given".^[28]

Irene Coates's book Who's Afraid of Leonard Woolf: A Case for the Sanity of Virginia Woolf holds that Leonard Woolf's treatment of his wife encouraged her ill health and ultimately was responsible for her death. This is not accepted by Leonard's family but is extensively researched and fills in some of the gaps in the traditional account of Virginia Woolf's life. Victoria Glendinning's book Leonard Woolf: A Biography, which is even more extensively researched and supported by contemporaneous writings, argues that Leonard Woolf was not only supportive of his wife but enabled her to live as long as she did by providing her with the life and atmosphere she needed to live and write. Virginia's own diaries support this view of the Woolfs' marriage.^[29]

Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell.

In 1992, Thomas Caramagno published the book The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness.

Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work.

In 2001 Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life, published in 2005, is the most recent examination of Woolf's life. It focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. Thomas Szasz's book My Madness Saved Me: The Madness and Marriage of Virginia Woolf (ISBN 0-7658-0321-6) was published in 2006.

Rita Martin’s play Flores no me pongan (2006) considers Woolf's last minutes of life in order to debate polemical issues such as bisexuality, Jewishness and war. Written in Spanish, the play was performed in Miami under the direction of actress Miriam Bermudez.

Depictions[link]

Woolf's bust in Tavistock Square, London erected in 2004

Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released starring Nicole Kidman as Woolf, a role for which she won the 2002 Academy Award for Best Actress. The film also starred Julianne Moore and Meryl Streep and featured an award-winning score by American composer Philip Glass. Susan Sellers' novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company.

Bibliography[link]

Novels[link]

• The Voyage Out (1915)
• Night and Day (1919)
• Jacob's Room (1922)
• Mrs Dalloway (1925)
• To the Lighthouse (1927)
• Orlando (1928)
• The Waves (1931)
• The Years (1937)
• Between the Acts (1941)

Short story collections[link]

• Monday or Tuesday (1921)
• A Haunted House and Other Short Stories (1944)
• Mrs Dalloway's Party (1973)
• The Complete Shorter Fiction (1985)

"Biographies"[link]

Virginia Woolf published three books to which she gave the subtitle "A Biography":

• Orlando: A Biography (1928, usually characterised as a novel inspired by the life of Vita Sackville-West)
• Flush: A Biography (1933, more explicitly cross-genre: fiction as "stream of consciousness" tale by Flush, a dog; non-fiction in the sense of telling the story of the owner of the dog, Elizabeth Barrett Browning), reprinted in 2005 by Persephone Books
• Roger Fry: A Biography (1940, usually characterised as non-fiction, however: "[Woolf's] novelistic skills worked against her talent as a biographer, for her impressionistic observations jostled uncomfortably with the simultaneous need to marshal a multitude of facts."^[30])

Non-fiction books[link]

• Modern Fiction (1919)
• The Common Reader (1925)
• A Room of One's Own (1929)
• On Being Ill (1930)
• The London Scene (1931)
• The Common Reader: Second Series (1932)
• Three Guineas (1938)
• The Death of the Moth and Other Essays (1942)
• The Moment and Other Essays (1947)
• The Captain's Death Bed And Other Essays (1950)
• Granite and Rainbow (1958)
• Books and Portraits (1978)
• Women And Writing (1979)
• Collected Essays (four volumes)

Drama[link]

• Freshwater: A Comedy (performed in 1923, revised in 1935, and published in 1976)

Autobiographical writings and diaries[link]

• A Writer’s Diary (1953) – Extracts from the complete diary
• Moments of Being (1976)
• A Moment's Liberty: the shorter diary (1990)
• The Diary of Virginia Woolf (five volumes) – Diary of Virginia Woolf from 1915 to 1941
• Passionate Apprentice: The Early Journals, 1897–1909 (1990)
• Travels With Virginia Woolf (1993) – Greek travel diary of Virginia Woolf, edited by Jan Morris
• The Platform of Time: Memoirs of Family and Friends, Expanded Edition, edited by S. P. Rosenbaum (London, Hesperus, 2008)

Letters[link]

• Congenial Spirits: The Selected Letters (1993)
• The Letters of Virginia Woolf 1888–1941 (six volumes, 1975–1980)
• Paper Darts: The Illustrated Letters of Virginia Woolf (1991)

Prefaces, contributions[link]

• Selections Autobiographical and Imaginative from the Works of George Gissing ed. Alfred C. Gissing, with an introduction by Virginia Woolf (London & New York, 1929)

Photograph albums[link]

• Monk's House photograph album 1, 1863-1938. Digital Facsimile at Houghton Library, Harvard University
• Monk's House photograph album 2, 1909-1922. Digital Facsimile at Houghton Library, Harvard University
• Monk's House photograph album 3, 1890-1933. Digital Facsimile at Houghton Library, Harvard University
• Monk's House photograph album 4, 1890-1947. Digital Facsimile at Houghton Library, Harvard University
• Monk's House photograph album 5, 1892-1938. Digital Facsimile at Houghton Library, Harvard University
• Monk's House photograph album 6, 1850-1900. Digital Facsimile at Houghton Library, Harvard University

Biographies[link]

• Virginia Woolf by Nigel Nicolson. New York, Penguin Group. 2000
• Virginia Woolf: A Biography by Quentin Bell. New York, Harcourt Brace Jovanovich, 1972; Revised editions 1990, 1996
• "Vanessa and Virginia" by Susan Sellers (Two Ravens, 2008; Harcourt 2009) [Fictional biography of Woolf and her sister Vanessa Bell]
• The Unknown Virginia Woolf by Roger Poole. Cambridge University Press, 1978.
• The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship by Ellen Bayuk Rosenman. Louisiana State University Press, 1986.
• Virginia Woolf and the politics of style, by Pamela J. Transue. SUNY Press, 1986. ISBN 0-88706-286-5.
• The Victorian heritage of Virginia Woolf: the external world in her novels, by Janis M. Paul. Pilgrim Books, 1987. ISBN 0-937664-73-1.
• Virginia Woolf's To the lighthouse, by Harold Bloom. Chelsea House, 1988. ISBN 1-55546-034-8.
• Virginia Woolf: the frames of art and life, by C. Ruth Miller. Macmillan, 1988. ISBN 0-333-44880-4.
• Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work by Louise DeSalvo. Boston: Little Brown, 1989.
• A Virginia Woolf Chronology by Edward Bishop. Boston: G. K. Hall & Co., 1989.
• A Very Close Conspiracy: Vanessa Bell and Virginia Woolf by Jane Dunn. Boston: Little, Brown, 1990
• Virginia Woolf: A Writer's Life by Lyndall Gordon. New York: Norton, 1984; 1991.
• Virginia Woolf and war, by Mark Hussey. Syracuse University Press, 1991. ISBN 0-8156-2537-5.
• The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness by Thomas D. Caramago. Berkeley: University of California Press, 1992.
• Virginia Woolf by James King. NY: W. W. Norton, 1994.
• Art and Affection: A Life of Virginia Woolf by Panthea Reid. New York: Oxford University Press, 1996.
• Virginia Woolf by Hermione Lee. New York: Knopf, 1997.
• Granite and Rainbow: The Hidden Life of Virginia Woolf by Mitchell Leaska. New York: Farrar, Straus and Giroux, 1998.
• The Feminist Aesthetics of Virginia Woolf, by Jane Goldman. Cambridge University Press, 2001. ISBN 0-521-79458-7.
• Virginia Woolf and the nineteenth-century domestic novel, by Emily Blair. SUNY Press, 2002. ISBN 0-7914-7119-5.
• Virginia Woolf: becoming a writer, by Katherine Dalsimer. Yale University Press, 2002. ISBN 0-300-09208-3.
• Virginia Woolf: The Will to Create as a Woman by Ruth Gruber. New York: Carroll & Graf Publishers, 2005
• My Madness Saved Me: The Madness and Marriage of Virginia Woolf by Thomas Szasz, 2006
• Virginia Woolf: An Inner Life, by Julia Briggs. Harcourt, 2006. ISBN 0-15-603229-5.
• The Bedside, Bathtub and Armchair Companion to Virginia Woolf and Bloomsbury by Sarah M. Hall, Continuum Publishing, 2007
• Virginia Woolf and the Visible World, by Emily Dalgarno. Cambridge University Press, 2007. ISBN 0-521-03360-8.
• A Life of One's Own: A Guide to Better Living through the Work and Wisdom of Virginia Woolf by Ilana Simons, New York: Penguin Press, 2007.
• Sudden Endings: 13 Profiles in Depth of Famous Suicides by M. J. Meaker, Garden City, NY: Doubleday & Company, Inc., 1964, pp. 250–269: "The Fatal Game: Virginia Woolf".

Notes[link]

External links[link]

Wikisource has original works written by or about: Virginia Woolf

Wikiquote has a collection of quotations related to: Virginia Woolf

Wikimedia Commons has media related to: Virginia Woolf

Literature portal

• Archival material relating to Virginia Woolf listed at the UK National Register of Archives
• Works by Virginia Woolf at Project Gutenberg
• Works by or about Virginia Woolf in libraries (WorldCat catalog)
• Biography of Virginia Woolf on the Yale Modernism Lab
• Listen to Virginia Woolf's BBC Broadcast (29 April 1937) 'Words Fail Me'
• Rare recordings of Virginia Woolf, Conan Doyle, and others
• Monk's House information at the National Trust
• The Virginia Woolf Collection at the Victoria University Library Special Collections
• The Legacy, full text and audio file
• The Searchlight, full text and audio file