Edward Wadsworth

Edward Wadsworth was a very talented artist and won first prizes for landscape in 1910 and for figure painting in 1911. He was considered to be one of the leaders of the Coster Gang. The author of A Crisis of Brilliance (2009) has argued: "They all had their own theories on how great art could be produced, with Maxwell Lightfoot and Edward Wadsworth amongst the most fervent in advancing their ideas and advising their peers." One of their teachers, Henry Tonks, recognised their talent but found them too rebellious and later commented: "What a brood I have raised."

http://www.spartacus.schoolnet.co.uk/ARTwadsworth.htm

Maxwell Gordon Lightfoot

An interesting fact: The artist Maxwell Gordon Lightfoot, was named after his mother. According to the Tate Gallery: "His mother had acquired her unusual name on the wishes of her sea captain father who prior to being lost at sea during a voyage and, expecting a boy, had left instructions that the baby should be named Maxwell Gordon. The name was bestowed upon the newborn in his memory despite the fact that she was a girl." I wonder how she coped with that.

On 27th September 1911 Lightfoot cut his throat with a razorblade. Apparently, he discovered that his girlfriend, an artist model, had been sleeping with one of his friends. The inquest passed a verdict of "Suicide whilst of Unsound Mind". Despite the fact that he was preparing for an exhibition of his work to be held at the Carfax Gallery, no paintings were found in his studio after his death and it is possible that Lightfoot destroyed them all before killing himself. On announcing his death, The Times claimed that: "All artists and critics.... were united in believing that Lightfoot would enjoy a most distinguished career in the highest rank of painting". Michael Sadleir considered Lightfoot's early death "a disaster to art in England."

http://www.spartacus.schoolnet.co.uk/ARTlightfoot.htm

Dorothy Brett and D.H. Lawrence

In 1924 Dorothy Brett moved to Taos, New Mexico with D.H. Lawrence and his wife, Frieda Lawrence, in 1924, where they lived with Mabel Dodge Luhan. Lawrence used Brett as a character in several of his short stories. In return, Brett painted several portraits of Lawrence and her memoir of their relationship, Lawrence and Brett: a Friendship, was published in 1933.


http://www.spartacus.schoolnet.co.uk/ARTbrett.htm

Edward Marsh and Mark Getler

For many years Edward Marsh was Mark Gertler's patron. However, the two men fell out over the First World War. Gertler wrote to on 17th August 1915: "I have come to the conclusion that we two are too fundamentally different to continue friends. Since the war, you have gone in one direction and I in another. All the time I have been stifling my feelings. Firstly because of your kindness to me and secondly I did not want to hurt you. I am I believe what you call a 'Passivist'. I don't know exactly what that means, but I just hate this war and should really loathe to help in it."

Edward Marsh, who had forgiven Mark Gertler for his pacifism, continued to buy his paintings even though he admitted he no longer liked or understood his work. In 1939 Gertler had his last exhibition. It was not a great success. Gertler wrote to Marsh: "I'm afraid I am depressed about my show - I've sold only one so far... it's very disheartening." Marsh replied that he no longer liked Gertler's paintings. Gertler tried to explain his situation: "Obviously a number of other people feel as you do about my recent work... I can never set out to please - my greatest spiritual pleasure in life is to paint just as I feel impelled to do at the time... But to set out to please would ruin my process." The following month Gertler committed suicide in his studio.

http://www.spartacus.schoolnet.co.uk/ARTmarshE.htm

http://www.spartacus.schoolnet.co.uk/ARTgertler.htm

John S. Currie and Dorothy Henry

In 1911 John S. Currie met Dorothy Henry, a tall, attractive seventeen-year-old who modelled dresses at a Regent Street department store. Currie's friend and patron, Michael Sadleir, remarked that she "was of flower-like loveliness, but lascivious and possessive to the last degrees. Her lure for men were irresistible, and Currie was of course utterly enslaved to her physical attraction, a fact of which she was well aware." Currie's wife discovered the affair in August 1911 and he abandoned her and his young son and set-up home with Dolly in Primrose Hill.

David Boyd Haycock, the author of A Crisis of Brilliance (2009) has argued: "They were indifferent to public opinion - an independence of mind that impressed the young Gertler. But it was a hopelessly doomed relationship. Dolly was poorly educated, unintelligent, and had no interest in art. She resented Currie's absorption in his work, and attempted to make herself the centre of his life." Haycock quotes a friend who later recalled that Dolly used the power of her beauty and sexuality "to goad him from abject desire to baffled fury and then, suddenly complaisant, to win him back again. This dangerous cruelty led to violent quarrels and blows."


In July 1912, Currie, Dora Henry and Mark Gertler went on holiday to Ostend. They had a good time but Gertler showed concern about Currie's behavior. He suggested that Currie's love of the writings of Friedrich Nietzsche had left him immoral. Stanley Spencer strongly disliked Currie and said: "I cannot bear him." Adrian Allinson pointed out that Currie was insanely jealous of Dolly: "Violent jealously continually drove Currie to threats of murder... Dolly's beauty, and pity for her lot, aroused in more than one painter the desire to replace the Irishman, so that Currie's jealousy, originally groundless, in time created the conditions for its own justification."

Henri Gaudier-Brzeska introduced Currie to Edward Marsh, the great-grandson of Spencer Perceval,who was a major collector of modern art. He invited Currie to dinner at Gray's Inn. He brought Dolly Henry with him and Marsh described her as "an extremely pretty Irish girl with red hair". The following wrote to Rupert Brooke: "Currie came yesterday I have conceived a passion for both him and Gertler, they are decidedly two of the most interesting of les jeunes, and I can hardly wait till you come back to make their acquaintance." In August 1913 Marsh decided to spend an inheritance from an aunt on paintings by Currie, Mark Gertler and Stanley Spencer.

Gertler found Currie's behaviour increasing erratic and he told Dorothy Brett: "Friendships are terribly difficult to manage and I don't think they are worth the trouble. Henry is not intelligent at all - that's the trouble. Frankly I prefer to stand alone. I need no great friend at all. Ties are a terrible nuisance and hindrance to an artist." Currie was confused by Gertler's attitude and later told Edward Marsh, "Marsh's attitude to friends is rather curious - rather like mine to ladies... A strange and tormented lot we are."

Dolly Henry left Currie at the beginning of 1914. He gave a lecture on art at Leeds University soon afterwards. He told Michael Sadleir he was contemplating suicide. He explained that the main sources of his anguish was Dolly faithlessness, and his fear that his period of artistic genius had passed. Sadleir added: "His life was hell. But his love for her was intense."

In March 1914, Dolly agreed to return to Currie and they decided to move to Brittany. However, she returned after a few weeks. Currie explained to Edward Marsh what happened: "She had gone away friendly, but she was very much out of place here. Peasant life made her long for cafes and clubs in London. There are many good things in her, but all mv recent trouble in various ways might have been avoided had she better sense. The emotional and sexual horror and beauty of the whole damned thing - the months of torment and waste of energy, my loss of control, seems like a hell to me now."

Dolly Henry took a flat in Paultons Square, just off the King's Road. When Currie returned to London he heard rumours that Dolly had modelled for pornographic photographs and was spreading rumours about him in an attempt to ruin his career. Currie wrote to Dolly: "A very fury of remorse and love and sorrow is raging in me. I blame myself for everything. I am over-whelmed with self-disgust... As the days go on the feeling of all I have lost in you becomes so frightful I cannot breathe. I am looking for a place I can bury my heart and forget."

On 8th October 1914, Currie murdered Dolly Henry. The Times reported the following day. "A young woman, whose name is said to be Dorothy or Eileen Henry, was found fatally shot in a house in Chelsea... At a quarter to eight yesterday morning shots and screams were heard. The other occupants of the house ran upstairs and found the woman on the landing in her nightdress bleeding from wounds. In the bedroom a man partly dressed was discovered with wounds in the chest. He was taken to Chelsea infirmary, but the woman died before the arrival of a doctor." Currie died three days later. His final words were: "It was all so ugly".

Michael Sadleir later wrote: "Dolly drove Currie mad, and deprived the world of a genuine artist and a devoted worker. He was a man who, had circumstances been a little kinder, would have made a great reputation and lived a full an happy life."

http://www.spartacus.schoolnet.co.uk/ARTcurrieJ.htm

Gerald Brenan

Gerald Brenan's first book, the picaresque novel, Jack Robinson, was published in 1933. This was followed by The Spanish Labyrinth: An Account of the Social and Political Background of the Spanish Civil War (1943), The Face of Spain (1950), The Literature of the Spanish People (1951) and South from Granada (1957). He then produced two volumes of autobiography: A Life of One's Own: Childhood and Youth (1962) and Personal Record: 1920-72 (1974).

http://www.spartacus.schoolnet.co.uk/ARTbrenanG.htm

The Death of Dora Carrington

In 1917, Dora Carrington set up home with Lytton Strachey at Mill House, Tidmarsh, in Berkshire. Julia Strachey was a regular visitor to the house. She later described the woman who was living with her uncle: "Carrington had large blue eyes, a thought unnaturally wide open, a thought unnaturally transparent, yet reflecting only the outside light and revealing nothing within, just as a glass door betrays nothing to the enquiring visitor but the light reflected off the sea."

In 1918 both Strachey and Carrington began an affair with Ralph Partridge. According to his biographer, Stanford Patrick Rosenbaum, they created: "A polygonal ménage that survived the various affairs of both without destroying the deep love that lasted the rest of their lives. Strachey's relation to Carrington was partly paternal; he gave her a literary education while she painted and managed the household. Ralph Partridge... became indispensable to both Strachey, who fell in love with him, and Carrington."

Frances Marshall was a close friend of Dora Carrington during this period: "Her love for Lytton was the focus of her adult life, but she was by no means indifferent to the charms of young men, or of young women either for that matter; she was full of life and loved fun, but nothing must interfere with her all-important relation to Lytton. So, though she responded to Ralph's adoration, she at first did her best to divert him from his desire to marry her. When in the end she agreed, it was partly because he was so unhappy, and partly because she saw that the great friendship between Ralph and Lytton might actually consolidate her own position."

Carrington married Ralph Partridge in 1921. She wrote to Lytton Strachey on her honeymoon: "So now I shall never tell you I do care again. It goes after today somewhere deep down inside me, and I'll not resurrect it to hurt either you or Ralph. Never again. He knows I'm not in love with him... I cried last night to think of a savage cynical fate which had made it impossible for my love ever to be used by you. You never knew, or never will know the very big and devastating love I had for you ... I shall be with you in two weeks, how lovely that will be. And this summer we shall all be very happy together."

In 1924 Partridge and Strachey bought Ham Spray House in Ham, Wiltshire, where a studio was made for Carrington and a library for Strachey. Julia Strachey, who visited her at Ham Spray House, recalls: "From a distance she (Carrington) looked a young creature, innocent and a little awkward, dressed in very odd frocks such as one would see in some quaint picture-book; but if one came closer and talked to her, one soon saw age scored around her eyes - and something, surely, a bit worse than that - a sort of illness, bodily or mental. She had darkly bruised, hallowed, almost battered sockets."

Lytton Strachey died of undiagnosed stomach cancer on 21st January 1932. His death made her suicidal. She wrote a passage from David Hume in her diary: "A man who retires from life does no harm to society. He only ceases to do good. I am not obliged to do a small good to society at the expense of a great harm to myself. Why then should I prolong a miserable existence... I believe that no man ever threw away life, while it was worth keeping."

Frances Marshall was with Ralph Partridge when he received a phone-call on 11th March 1932. "The telephone rang, waking us. It was Tom Francis, the gardener who came daily from Ham; he was suffering terribly from shock, but had the presence of mind to tell us exactly what had happened: Carrington had shot herself but was still alive. Ralph rang up the Hungerford doctor asking him to go out to Ham Spray immediately; then, stopping only to collect a trained nurse, and taking Bunny with us for support, we drove at breakneck speed down the Great West Road.... We found her propped on rugs on her bedroom floor; the doctor had not dared to move her, but she had touched him greatly by asking him to fortify himself with a glass of sherry. Very characteristically, she first told Ralph she longed to die, and then (seeing his agony of mind) that she would do her best to get well. She died that same afternoon."

Virginia Woolf wrote in her diary: "Glad to be alive and sorry for the dead: can't think why Carrington killed herself and put an end to all this." However, ten years later she followed her example and killed herself.

http://www.spartacus.schoolnet.co.uk/ARTcarrington.htm