ABSTRACT
Three loves and lives and works, each of which may appear to be in some ways odd, or to be constructed about an unusual situation, may appear to be tinged with madness on the one hand, and, on the other, with an unhappiness not immediately rejected, a conscious incompleteness not instantly refused, and a kind of fearful self-disrespect, a drastic undervaluing of the self. All three of these women artists were at once witnesses to the intellectual and artistic Bloomsbury community, and its creators: they play an essential role in being and creating quite exactly what they are remarking upon, and in so doing, reinforce the ideas of flux and blurring of contours that the continuing reciprocity of the author's text—this mosaic of interrelated parts, artistic and personal—wants to address and itself to participate in. This personal advocacy of freedom and unjudgmental evaluation wants to contribute what it can, based on the author's own intensity of feeling.
