Yale Center for British Art

Creator:
Duncan Grant, 1885–1978, British
Title:
Pamela Fry
Date:
1911
Materials & Techniques:
Oil on canvas
Dimensions:
19 1/2 x 29 9/16 inches (49.5 x 75.1 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Fund
Copyright Status:
© Estate of the Artist
Accession Number:
B1986.1.2
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
gesture | hairpiece | dress | brushstrokes | girl | daughter | water | portrait | pond
Currently On View:
Not on view
Exhibition History:
A Room of Their Own - The Artists of Bloomsbury in American Collections (Herbert F. Johnson Museum of Art, 2009-07-18 - 2009-10-18)

A Room of Their Own - The Artists of Bloomsbury in American Collections (Block Museum of Art, 2010-01-15 - 2010-03-15)

The Art of Bloomsbury : Roger Fry, Vanessa Bell and Duncan Grant (Tate Britain, 1999-11-04 - 2000-01-30)

The Art of Bloomsbury : Roger Fry, Vanessa Bell and Duncan Grant (Yale Center for British Art, 2000-05-20 - 2000-09-03)

The Art of Bloomsbury : Roger Fry, Vanessa Bell and Duncan Grant (The Huntington Library, Art Collections, and Botanical Gardens, 1999-02-26 - 2000-04-30)
Publications:
Gretchen Gerzina, A room of their own : the Bloomsbury artists in American collections, , Herbert F. Johnson Museum of Art, Ithaca, NY, 2008, p. 170, fig. 62, ND468.5.B55 R66 2008 (YCBA)

Anna Gruetzner Robins, Modern art in Britain, 1910-1914, Merrell Holberton, London, 1997, p. 92, ND486 R62 1997 (YCBA)

Richard Shone, The art of Bloomsbury, Roger Fry, Vanessa Bell and Duncan Grant , Tate Publishing, London, 1999, pp. 78-79, cat. no. 17, ND468.5 B55 S56 1999 + (YCBA)
Gallery Label:
This painting shows Pamela, the nine-year-old daughter of fellow painter, art critic, and the Bloomsbury Group’s principal theorist, Roger Fry, sitting by the pond in the garden of Fry’s house outside Guildford. Pamela recalled the sittings as lasting “for what seemed like days and days,” a trial only partly alleviated by her decision to sew while she sat. Grant’s portrait, subsequently exhibited at the Second Post-Impressionist Exhibition at the Grafton Galleries in London in 1912, speaks of his interest in the medium of mosaic. The short dabs of color contained within heavy outlines contribute to the painting’s flat, decorative feeling: the garden pond has no depth but mimics instead the rug on which Pamela is seated. Gallery label for installation of YCBA collection, 2016
Link:
https://collections.britishart.yale.edu/catalog/tms:1271