Then she was those four strands of herself combined, she was Mary Katherine Constance Lloyd, a figure with a question forever hanging over her, a flash of talent and humour running through the correspondence of others. She became her few known paintings: an exquisite nude in fluffy dirtied pastels, a couple of still lifes set in cramped interiors...
The Mill at Tidmarsh is beautiful, and only strange when studied up close, like Tidmarsh itself: an ordinary country house that once entered revealed a radical reinterpretation of domesticity.
/Detail from "The Mill at Tidmarsh", Dora Carrington
A very sunny day to read such a gloomy-sounding book.
(It's not gloomy, it's about women's art)
Section in the TLS on two new books about women artists (1/2)
Check out the ads from Brepolis. Any women artists featured?
This Dark Country: Women Artists, Still Life and Intimacy in the Early Twentieth Century | 
