Angelica Garnett: A Legacy at Charleston
Of the last descendant of Bloomsbury’s ‘inner-circle’, an impressive obituary of 4th May 2012 remarks that Angelica’s parentage gave her a ‘double share of Bloomsbury inheritance.’ The only child of Vanessa Bell and Duncan Grant, Angelica Vanessa Garnett was a talented woman. Undoubtedly affected by her parents’ artistic talents and her unconventional upbringing at Charleston, Angelica’s vast resume encompassed writer, painter, performer, ceramicist and sculptor.
CHA/P/1643 Angelica Garnett. Two children sat at table. Painting. Photograph © The Charleston Trust.
Born at Charleston on Christmas Day of 1918 Angelica’s arrival marked the end of the war as well as the end of her parent’s sexual relationship; however, her birth tied them together in a significant way, perhaps a reason for living and working together for the remainder of their lives.
Angelica grew up being doted on by her mother, though her paternal relationships were a little more complicated; growing up believing that her father, like her brothers, was Clive Bell. Angelica was informed of her true parentage at the age of 18, upon sternly being advised not to mention the subject again. Where Vanessa perhaps believed that her child had the love of two fathers, Angelica wrote that ‘in reality,’ she ‘had none’. Her widely acclaimed memoir of this period Deceived with Kindness, the experience of growing up at the centre of the Bloomsbury Group, is considered an important part of the set’s social literature.
CHA/P/1642 Angelica Garnett. Woodland animals by stream. Watercolour and Pencil on Paper. Photograph © The Charleston Trust.
Angelica’s legacy does not end with literature. Many of her early art works (often produced in collaboration with Vanessa) can still be viewed at Charleston, a special example displayed in the spare bedroom. Her sketchbooks also form part of Charleston’s archive, containing fashion design, pattern design and still lives. Recognising and promoting Charleston as a place of significant artistic heritage, Angelica and her brother Quentin’s gift of the house to the Trust along with their tireless work during its period of restoration in the 1980s was instrumental in securing a future for Charleston post-Bloomsbury.
CHA/P/2437 /21 Angelica Garnett. Waistcoat design. Pencil on Paper. Photograph © The Charleston Trust.
Aside from the estate, perhaps Angelica’s biggest legacy is the Angelica Garnett Gift, a collection of over 8000 works on paper and canvas. The pieces, mainly works by her parents, had previously filled the drawers, cupboards and studios at Charleston. After Duncan Grant’s death they were held in London at an art storage facility and were largely unseen for nearly 30 years. In 2008 these works were gifted to The Trust, and the exciting work of discovery began. Previously unpublished, this inspiring collection teaches us about the artistic practices and evolution of two internationally acclaimed artists.
CHA/P/2437/5 Angelica Garnett. Domestic pattern, red and blue crown with green leaves. Photograph © The Charleston Trust.
The Gift continues to encourage new insights into Bloomsbury’s creative processes and engages us (the attic interns) in the museum documentation processes of cataloguing, digitalizing, conservation and research. Angelica’s gift to Charleston was generous and significant; with it she leaves an important legacy, one that celebrates her family, their work and more intimately, their lives.
CHA/P/2436/17 Angelica Garnett. Moored boats by trees and houses. Watercolour on Paper. Photograph © The Charleston Trust.