Episode 4 | Charleston: The Bloomsbury Muse | Duncan Grant The Hammock, Charleston, c.1921-22

For the midway point in our series, Philip delves into The Hammock, the monumental painting by Duncan Grant.
Bloomsbury academic Frances Partridge describes Charleston as a ‘comfortable hen’, which is epitomised in this painting, where the role of Charleston as family home is made apparent. Painted in the early 20s, Duncan’s family scene presents the private, personal, and peaceful home which was created at Charleston by both Vanessa and Duncan.
Here, we are given a view into that secret space with Vanessa as the central mother ‘…hen’ surrounded by her children, Angelica, Quentin, and Julian. Duncan adds the essence of work and play which Charleston facilitated, with the presence of both the family tutor in the foreground and a horse and trap in the background.
The present work is currently on display in our exhibition ‘Charleston: The Bloomsbury Muse’ until 10th November.
Painting on loan.
Images:
Fig 1: Lady Ottoline Morrel, Maria Huxley, Lytton Strachey, Duncan Grant and Vanessa Bell. Copyright The Charleston Trust.
Fig 2: Vanessa Bell in the garden at Charleston, c. 1920s. Copyright the Charleston Trust.
Fig 3: Quentin Bell, Angelica Garnett and Julian Bell.
Fig 4: Vanessa Bell cutting Lytton Strachey's hair, c.1920s. Copyright The Charleston Trust.
Fig 5: Quentin Bell.
Fig 6: Quentin Bell, 1981.
Fig 7: Vanessa, Quentin and Julian Bell. Copyright The Charleston Trust.
Fig 8: Julian Bell, with Clinker the dog, 1928.