{"title":"霍加斯出版社，一个独特的艺术画廊","authors":"Virginie Podvin","doi":"10.3828/liverpool/9781942954569.003.0012","DOIUrl":null,"url":null,"abstract":"This chapter looks at Virginia Woolf's ambiguous relationship with painting. Podvin explores how Woolf uses the techniques of a painter in her novels, including form, colour, light, contrast, framing characters and landscapes, and representing the figure of the painter.","PeriodicalId":402065,"journal":{"name":"Virginia Woolf and the World of Books","volume":"44 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Hogarth Press, a Singular Art Gallery\",\"authors\":\"Virginie Podvin\",\"doi\":\"10.3828/liverpool/9781942954569.003.0012\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter looks at Virginia Woolf's ambiguous relationship with painting. Podvin explores how Woolf uses the techniques of a painter in her novels, including form, colour, light, contrast, framing characters and landscapes, and representing the figure of the painter.\",\"PeriodicalId\":402065,\"journal\":{\"name\":\"Virginia Woolf and the World of Books\",\"volume\":\"44 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Virginia Woolf and the World of Books\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3828/liverpool/9781942954569.003.0012\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Virginia Woolf and the World of Books","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3828/liverpool/9781942954569.003.0012","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This chapter looks at Virginia Woolf's ambiguous relationship with painting. Podvin explores how Woolf uses the techniques of a painter in her novels, including form, colour, light, contrast, framing characters and landscapes, and representing the figure of the painter.
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