What sets Iceland Poppies aside from its contemporary still-life paintings is the feeling of psychological intensity. In her biography of Bell, Frances Spalding suggests that Iceland Poppies reflects an autobiographical preoccupation with triangular relationships. She observes that it is a still-life based on triplicates: three still-life objects, three bands running across the background, three flowers, two of which are white and slightly separated from the third, which is red. Spalding writes of its ‘introspective, bitter-sweet mood’, likening the composition to ‘a strain of music that lingers on dissonance before resolution’. *
Vanessa Bell’s ‘Iceland Poppies’ c.1908-09
Acquired with the assistance of the National Lottery through the Heritage Lottery Fund and the Art Fund.
© The Estate of Vanessa Bell, courtesy of Henrietta Garnett.
Published by King and McGaw.
Printed in the UK.
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