Bloomsbury is a district of central London notable for its location to the British Museum. Between 1904 and 1915, and 1924 and1939 Virginia Woolf lived in five different houses in this district: 46 Gordon Square (1904-1907, with Vanessa, Thoby, and Adrian Stephen), 29 Fitzroy Square (1907-1911, with Adrian Stephen), 38 Brunswick Square (1911-15 with Adrian Stephen, Duncan Grant, Maynard Keynes, and Leonard Woolf), 52 Tavistock Square (1924-39, now married to Leonard Woolf), 37 Mecklenburgh Square (Aug 1939 -Sept. 1940, when it is bomb damaged at which time the Woolfs moved permanently to Monk’s House in west Surrey a rustic 16th century country cottage they had purchased as a weekend retreat in 1919. 

In the 19th century, Bloomsbury lost some of its glamour – trade and industry moved in and the area was no longer considered to be fashionable. The British Museum was erected on its present site in 1823 and London University began in 1827.

The arrival of the Bloomsbury Group in the early 20th century gave the area its reputation as an intellectual, artistic and somewhat Bohemian area – a reputation which is still considered relevant today.

Bloomsbury group was the name given to a coterie of English writers, philosophers, and artists who frequently met between about 1907 and 1930 at the houses of Clive and Vanessa Bell and of Vanessa’s brother and sister Adrian and Virginia Stephen (later Virginia Woolf) in the Bloomsbury district of London, the area around the British Museum.

They discussed aesthetic and philosophical questions in a spirit of agnosticism and were strongly influenced by G.E. Moore’s Principia Ethica (1903) and by A.N. Whitehead’s and Bertrand Russell’s Principia Mathematica (1910–13), in the light of which they searched for definitions of the good, the true, and the beautiful and questioned accepted ideas with a “comprehensive irreverence” for all kinds of sham.

Nearly all the male members of the group had been at Trinity or King’s College, Cambridge, with Leslie Stephen’s son Thoby, who had introduced them to his sisters Vanessa and Virginia. Most of them had been “Apostles”; i.e., members of the “society,” a select, semisecret university club for the discussion of serious questions, founded at Cambridge in the late 1820s by J.F.D. Maurice and John Sterling. Tennyson, Arthur Hallam, Edward Fitzgerald, and Leslie Stephen had all been Apostles.

The Bloomsbury group included the novelist E.M. Forster, the biographer Lytton Strachey, the art critic Clive Bell, the painters Vanessa Bell and Duncan Grant, the economist John Maynard Keynes, the Fabian writer Leonard Woolf, and the novelist and critic Virginia Woolf. Other members were Desmond Macarthy, Saxon Sidney-Turner, Bertrand Russell, Aldous Huxley, and T.S. Eliot were sometimes associated with the group.

The group survived World War I but by the early 1930s had ceased to exist in its original form, having by that time merged with the general intellectual life of London, Oxford, and Cambridge. Although its members shared certain ideas and values, the Bloomsbury group did not constitute a school. Its significance lies in the extraordinary number of talented persons associated with it. What did continue to exist was the Memoir Club.

It would be difficult to exaggerate the importance of understanding the work of the Memoir Club in considering the history of twentieth-century British literary culture. This secret, invitation only club included, basically, the ‘membership’ of the Bloomsbury Group.

Gordon Square plaque

Gordon Square plaque

Founding Bloomsbury Members

Clive Bell

1881-1964

1881-1964

Vanessa's husband and Virginia's brother-in-law who was a well established art critic. Bell also formed an important friendship with the English art critic Roger Fry in 1910, and together they organized the landmark second Post-Impressionist exhibition that was held in London in 1912.

Vanessa Bell

 1879-1961

1879-1961

Virginia's older sister, a painter, who she remained extremely close to throughout her life. She would go on to marry Clive Bell and yet spend most of her life and have a child with Duncan Grant, another painter. Together they lived in Charleston House, built its now famous gardens, painted together and hosted Bloomsbury meetings.

Virginia Woolf

1882-1941

1882-1941

Virginia Woolf who, along with her sister Vanessa and her brother Adrian, hosted the Bloomsbury 'meetings' in their formative years at 46 Gordon Square where they lived between 1904 and 1907. Over time, Virginia's Monk's House, along with her sister's Charleston House, became the group's meeting place.

Leonard Woolf

1880-1969

1880-1969

Virginia's husband and a political theorist, author, publisher and civil servant. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vivamus ac consectetur augue, quis ultricies felis. Suspendisse auctor nec risus at hendrerit. Vivamus tempor neque vitae feugiat sollicitudin. Donec at varius purus.

John Maynard Keynes

1883-1946

1883-1946

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Giles Lytton Strachey

1880-1932

1880-1932

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Saxon Sydney-Turner

1880-1962

1880-1962

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Edward Morgan Forster

1879 – 1970

1879 – 1970

EM Forster was an English fiction writer, essayist and librettist. His fame rests largely on his novels, A Room With a View (1908), Howards End (1910) and A Passage to India (1924), since adapted for stage and screen.

Duncan Grant

1885 – 1978

1885 – 1978

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Roger Fry

1866 – 1934

1866 – 1934

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Bloomsbury Relationships

Bloomsbury Associates

Molly MacCarthy

1882-1953

1882-1953

Molly, wife of Desmond MacCarthy, another Bloombury member, was the one who instigated the Memoir Club in 1920 at which its members, after dining together, read short autobiographical papers, some of which are invaluable records of aspects of early Bloomsbury, particularly those by John Maynard Keynes and Virginia Woolf. Molly MacCarthy herself published several books, the best known of which is A Nineteenth Century Childhood (1924).

Lady Ottoline Morrell

1873-1938

1873-1938

Lady Ottoline Violet Anne Morrell was an English aristocrat and society hostess. Her patronage was influential in artistic and intellectual circles, where she befriended writers including Aldous Huxley, Siegfried Sassoon, T. S. Eliot, Virginia Woolf, and D. H. Lawrence, and artists including Mark Gertler, Dora Carrington, and Vanessa Bell. Her and her husband, Philip Edward Morrell, lived in the Bloomsbury district of London from 1924.

Dora Carrington

1893-1932

1893-1932

Carrington was an English painter, decorative artist and friendly with members of the Bloomsbury group,. While working at the Omega Workshops in 1916, she met the writer Lytton Strachey, who would be her main love for the rest of her life, despite her later marriage to Ralph Partridge. The three of them moved into together in 1917. Even though Strachey was openly homosexual, Carrington had deep romantic feelings for him.

Bloomsbury Group Timeline

still under construction

Preloader

The Memoir Club

1920 - 1969

The Memoir Club painted by Vanessa Bell in 1942. (from left: Duncan Grant; Leonard Woolf; Vanessa Bell; Clive Bell; David Garnett; Baron Keynes; Lydia Lopokova; Sir Desmond MacCarthy; Mary MacCarthy; Quentin Bell; E. M. Forster). The paintings on the wall represent the members who had died before Vanessa's painting: Virginia on the left and Roger Fry on the right, both by Duncan Grant, Vanessa's lover.

The Memoir Club was set up in the spring of 1920 when Molly MacCarthy sent out invitations to 12 inner "Bloomsberries" (her word). She had come up with the idea of the club as a way of pushing her brilliant, endlessly procrastinating husband Desmond into getting down to some proper writing. Its mission to promote the writing of autobiography among its 12 handpicked members that included Virginia and Leonard Woolf, Vanessa and Clive Bell, EM Forster, Duncan Grant, Roger Fry and John Maynard Keynes. The club ended up provoking some of the most influential pieces of self-writing of the 20th century.

Although not initially intended for publication, most of the 125 memoirs – book-length and self-contained essays – did eventually find their way into print.

The rules of the club were simple, and derived from the Apostles, the elite debating society that so many of the Bloomsbury men had joined at Cambridge. The person presenting their memoir was obliged to be absolutely candid, while the people doing the listening were instructed to extend an equal openness.

"No one has the right to be shocked or aggrieved by what is said."

Given that everyone in the Memoir Club, apart from Forster, had slept with at least one other member, this sounds like a recipe for hurt feelings and resentment. But if Bloomsbury prided itself on plain-speaking, it also valued a certain sprightly self-reliance.

But the club also served the useful purpose of gathering the group together again after its wartime scattering: the Woolfs had seen out the hostilities in Richmond, the Bells in Sussex, while the single men had been hefting stretchers or doing farm work. Now they could gather once more in a leafy square in WC1 and become "Bloomsbury" all over again.

It wasn't just a matter of geography. The war had dug a chasm between then and now, turning even the recent past into another country. Hugely influenced by Proust's A La Recherche, the memoirists found themselves licensed to wonder about their younger selves. Far from being something old codgers did, remembering had now become a kind of art for clever people in their prime.

The club lasted until 1964 with the death of Leonard Woolf in 1969.


Shortly before his death, S. P. Rosenbaum, Professor Emeritus of English Literature until his death in 2012, began work on the history of the Bloomsbury Group's 'Memoir Club'. With original archival material and valuable insights on leading Bloomsbury figures such as Woolf, Keynes and Forster, this illuminating book edited by James M. Haule offers a new perspective on our understanding of twentieth-century autobiography and life writing.

S. P. Rosenbaum was Professor Emeritus of English Literature at the University of Toronto, Canada and a leading scholar of Woolf and the literary history of the Bloomsbury Group. His many publications include three volumes tracing the literary history of Old Bloomsbury from the 1880s to 1914: Victorian Bloomsbury (1987), Edwardian Bloomsbury (1995) and Georgian Bloomsbury (2003). He also collected Woolf's published and unpublished memoirs in The Platform of Time: Memoirs of Family and Friends (2008).

The Omega Workshops

1913 - 1919

The Omega Workshops was a British design cooperative opened to the public at 33 Fitzroy Square in July 1913. Artist and critic Roger Fry (1866–1934) was the principle founder and director, and artists Vanessa Bell (1879–1961) and Duncan Grant (1885–1978) served as co-directors.

The cooperative was motivated by the requirement to provide regular paid work for young post-Impressionist artists, and the ambition to redesign modern life to accommodate their hopes for modern people. Later, it became an important bastion of the peace movement, providing employment for conscientious objectors, as well as a gathering space for talks and exhibitions.

The nucleus of the Omega team was formed from artists from the Grafton Group, an exhibiting society formed by Fry in 1913. The Grafton Group had in turn had been born of artists disillusioned by the unenterprising direction that Vanessa Bell’s Friday Club, founded 1905 had begun to take. The founding principle was for the artists to work here in a cooperative spirit, sharing ideas and ideals.

Fry aimed to remove what he considered to be the false divisions between the decorative and fine arts, and to give his artist friends an additional income opportunity in designing furniture, textiles and other household accessories. Fry was keen to encourage a Post-Impressionist influence in designs produced for Omega. However, Cubist and Fauvist influences are also apparent, particularly in many of the textile designs.

One of the unique characteristics that distinguished the products from this workshop, was that it allowed artists to anonymously contribute their work. By prohibiting artists to sign their work, and only allowing them to label it with the Greek letter Ω Omega, it created a personal trait that was only exclusive to those involved. The Omega is also symbolic of the end of an art era, as the omega is the last letter of the Greek alphabet.

In addition to its emphasis on the decorative arts as seen in the work of Vanessa Bell, Duncan Grant and the ceramics of Roger Fry, the Omega Workshops experimented with book production. The Collection at Victoria contains all the Omega publications, including the first title Simpson's Choice (1915) by Arthur Clutton-Brock with woodcuts by Roald Kristian, and Original Woodcuts by Various Artists which includes woodcuts by a gallery of Bloomsbury artists: Roger Fry, Duncan Grant, Vanessa Bell, Roald Kristian, Edward Wolfe, McKnight Kauffer and Simon Bussy, whose woodcut of the famous Omega cat is a familiar image.

The influence and importance of Bloomsbury art and artists can be traced in the Collection and Bloomsbury: Books, Art and Design brings together selected examples of the literary and visual creativity which characterized Bloomsbury, their ideas and their achievements.

Omega closed in 1919, after a clearance sale, and was officially liquidated on 24 July 1920. A series of poor financial decisions and internal conflicts all contributed to its decline. At the time of its closure, Fry was the only remaining original member working regularly at the workshop. Despite this, Omega became influential in interior design in the 1920s and again in the 1980s.

Self Portraits

from top: Roger Fry, Vanessa Bell, Duncan Grant

from top: Roger Fry, Vanessa Bell, Duncan Grant

Omega Workshop Artists

Artists worked at the Omega studios for three and half days a week at a rate of thirty shillings. The rest of their time was to be devoted to their own art.