凡妮莎．貝爾 (Vanessa Bell, 1879-1941) 的藝術生涯受益於大英帝國晚期女性教育環境的改善，而有機會進入皇家藝術學院學習，並師從約翰．辛格．薩金特 (John Singer Sargent, 1856-1925) 。直至1910年受到羅傑．弗萊 (Roger Fry, 1866-1934) 舉辦的後印象派展覽的啟發，她的風格逐漸轉變，開始探索塞尚、高更等現代藝術大師，逐步奠定她的後印象派風格。
凡妮莎．貝爾的繪畫主要以大膽的構圖、明亮的色彩和簡潔的線條為特徵來表現她的主觀感受，既是個人創作的體現，受到布魯姆斯伯里集團的影響也反映對現代藝術和社會脈動的思考。她與羅傑．弗萊和鄧肯．格蘭特 (Duncan Grant, 1885-1978) 共同創立歐米伽工作坊 (Omega Workshop)，涉足工藝和室內設計領域，將繪畫經驗應用於產品和裝飾設計。然而，當時的性別偏見和社會觀念限制了她的影響力和認可度，儘管如此，她的實驗性創作仍展現出作為前衛藝術家對視覺元素的敏感度和感知力。
本文首先探討凡妮莎．貝爾在大英帝國晚期女性教育政策下的藝術創作環境的養成，以及布魯姆斯伯里集團和歐米伽工作坊對她的藝術價值觀的影響。接著分析貝爾1900-1916年間的繪畫題材、藝術思維和風格特點，以揭示她的藝術實驗和創作美學，並她對英國抽象藝術的貢獻。透過這些分析，描繪貝爾作為一位女性藝術家的成長歷程，以及她在當時社會背景下的獨特創作成就。

Vanessa Bell (1879-1941) benefited from the improved educational environment for women during the late British Empire, enabling her to study at the Royal Academy of Arts under John Singer Sargent (1856-1925). Inspired by Roger Fry's (1866-1934) Post-Impressionist exhibition in 1910, her style gradually shifted, delving into the works of modern masters like Cézanne and Gauguin, solidifying her Post-Impressionist approach.
Bell's art is characterized by bold compositions, vibrant colors, and concise lines, conveying her subjective feelings. It's both a personal expression and a reflection of influences from the Bloomsbury Group, mirroring her contemplation of contemporary art and societal dynamics. Co-founding the Omega Workshop with Roger Fry and Duncan Grant (1885-1978), she ventured into crafts and interior design, applying her painting experience to products and decorations. Despite the gender biases and societal norms of her time limiting her influence and recognition, her experimental creations revealed her sensitivity and perceptiveness towards visual elements as an avant-garde artist.
This article primarily explores Vanessa Bell's artistic upbringing within the context of the late British Empire's women's education policies, along with the influence of the Bloomsbury Group and the Omega Workshop on her artistic values. Subsequently, it analyzes Bell's painting subjects, artistic philosophies, and stylistic traits during 1900-1916, unveiling her artistic experimentation and aesthetic, as well as her contributions to British abstract art. Through these analyses, it portrays Bell's journey as a female artist and her distinctive creative accomplishments in the context of her contemporary society.

一、中文專書
劉其偉。《現代繪畫基本理論》。臺北：雄獅美術出版，1991 年。
羅成典。《西洋現代藝術大師與美學理論》。臺北市：秀威資訊科技，2010年。

二、中文翻譯專書
安海姆著、李長俊譯。《藝術與視覺心理學》(Art and Visual Perception)。臺北：雄獅圖書出版，1976年。
歐文．潘諾夫斯基 (Erwin Panofsky) 著；李元春譯。《造型藝術的意義》(Meaning in the Visual Arts)。臺北：遠流出版，1997 年。
弗朗西斯．斯帕丁 ( Frances Spalding) 著，陳平譯。《20 世紀英國藝術》(British Art Since 1900) 。上海：上海人民美術出版社，1999 年。
惠特尼‧查德威克 (Whitmey Chadwick) 著，李美蓉譯。《女性，藝術與社會》(Woman, Art, and Society) 。台北；遠流，1995 年。
琳達．諾克林 (Linda Nochlin) 著，游惠貞譯。《女性，藝術與權力》(Woman,Art, and Power) 。台北；遠流，1995 年。
昆汀．貝爾(Quentin Bell）著，季進譯。《隱密的火焰：布魯姆斯伯里文化圈》(Bloombury)。江蘇：江蘇教育出版社，2006 年赫歇爾．白朗寧．奇普 (Herschel B. Chipp)著，余珊珊譯。《現代藝術理論Ｉ》(Theories of Modern Art)，台北市：遠流出版事業股份有限公司，1995 年
蘇珊．伍德福特 (Susan Woodfort) 等著，羅通秀等譯。《劍橋藝術史：19 世紀藝術》(The cambridge introduction to art : The nineteenth century)。臺北市：桂冠， 2000 年。
S.P.羅森鮑姆(S.P Rosenbaum）著，徐冰譯。《歲月與海浪︰布魯姆斯伯里文化圈人物群像》(The Bloomsbury Group: A Collection of Memories and Commentary)。南京市：江蘇教育出版社，2006 年。
羅杰． 弗萊(Roger Fry) 著， 沈語冰譯。《弗萊藝術批評文選》(Roger Fry:Selected Essays & Criticism)。南京市：江蘇教育出版社，2010 年。
維吉妮亞． 吳爾芙(Virginia Woolf) 著， 宋德明譯。《 燈塔行》(To the Lighthouse)。新北市：聯經出版公司，1999 年。
伯 納 德 ． 丹 維 (Bernard Denvir) 著 ， 張 心 龍 譯 。 《 後 印 象 派 》 (Post-Impressionism)。新北市：遠流出版，1995 年。

三、西文專書
Anthea Callen. Women artists of the arts and crafts movement, 1870-1914. New York: Pantheon Books, 1979
A Member of the Aristocracy. Manners and Rules of Good Society or Solecisms to be Avoided. London Frederick Warne and Co., 1916.
Bell, Vanessa. The selected letters of Vanessa Bell. New York: Pantheon Books, 1993.
Bell, Vanessa. Sketches in Pen and Ink. London: Pimlico, 1998.
Bell, Vanessa. Davis & Long Company, Vanessa Bell, 1879-1961: A Retrospective Exhibition, April 18-May 24, 1980. New York: Anthony d'Offay , 1980.
Bell, Clive. Art. London: Chatto & Windus, 1914.
Bell, Quentin. Bloomsbury. London: Futura,1974.
Brockington, Grace. Above the Battlefield: British Modernism and the Peace Movement 1900–1918. New Haven: Yale University Press, 2010.
Berkowitz, Elizabeth. Bloomsbury's Byzantium and the Writing of Modern Art. The Graduate Center, City University of New York, 2-2018
Charles. Harrison, English art and modernism, 1900-1939. London: Allen Lane; Bloomington, Ind. : Indiana University Press, 1981.
Collins, Judith. The Omega Workshops. Chicago: University of Chicago Press, 1984.
Clark, Kenneth. Last lectures. London: The University Press; Cambridge; 1939.
Eilkes, James. A Fractured Landscape of Modernity: Culture and Conflict in the Isle of Purbeck. New York: Palgrave Macmillan, 2014.
Eline Canter Cremers-van der Does, The agony of fashion, UK: Blandford Press, 1980.

Erle, Loran. Cézanne's composition: analysis of his form with diagrams and photographs of his motifs. Berkeley; Los Angeles: University of California Press, 1943.
Evan. Charteris, John Sargent. New York: C. Scribner's sons, 1927.
Fry, Roger. Art and the market: Roger Fry on commerce in art. Ann Arbor, Mich.: University of Michigan Press, 1998.
Fry, Roger. “An Essay in Aesthetics”, Vision and Design. Harmondsworth, Eng.; New York: Penguin Books, 1937.
Fry, Roger. Cezanne. London: Hogarth Press ltd., 1952.
Fry, Roger. ‘Art and Industry’ .1932. in Crauford Goodwin, Art and the Market: Roger Fry on Commerce in Art. Ann Arbor, MI: University of Michigan Press, 1998.
Fry, Roger. Letters of Roger Fry. London: Chatto & Windus, 1972.
Fry, Roger. A Roger Fry reader. Chicago: University of Chicago Press, 1996.
FJC, Hearnshaw. Edwardian England AD 1901-1910. London: Ernest Benn Limited, 1932.
Garnett, Angelica. Deceived with kindness: a Bloomsbury childhood. San Diego: Harcourt Brace Jovanovich, 1985.
Gerstein, Alexandra. Beyond Bloomsbury: designs of the Omega Workshops 1913-19. London: Cortauld Gallery in association with Fontanka, 2009.
Marsh, Jan. Bloomsbury women. Henry Holt, 1996.
Gornick, Vivian. Barbara K. Moran, Woman in sexist society; studies in power and powerlessness. New York: Basic Books, 1971.
Hibbert, Christopher. Edward VII: the last Victorian king .New York: Palgrave Macmillan, 2007 .
Hodge, Susie, Victorian art. Oxford: Heinemann Library, 1997.
Milroy, Sarah and Dejardin, Ian A. C. Vanessa Bell. London: Philip Wilson Publishers, 2017.
Milroy, Sarah. Vanessa Bell. London: Philip Wilson Publishers, 2017.
Naylor, Gillian. Bloomsbury: its artists, authors, and designers. Boston: Little, Brown, 1900.
Pamela, Gerrish Nunn. From Victorian to Modern: Innovation and Tradition in the Work of Gwen John, Vanessa Bell and Laura Knigh. USA: Bloomsbury, 2006.
Pamela, Gerrish Nunn. Victorian women artists. London: Women's Press, 1987.
Reed, Christopher. Bloomsbury Rooms: Modernism, Subculture, and Domesticity. London: Bard Center, 2004.
Rosenbaum, S. P., The Bloomsbury group: a collection of memoirs, commentary, and criticism. Toronto; Buffalo: University of Toronto Press, 1975.
Saler, Michael T. The Avant-Garde in Interwar England: Medieval Modernism and the London Underground. New York: Oxford University Press, 1999.
Shone, Richard. Vanessa Bell, 1879-1961: A Retrospective Exhibition. New York: Davis &Long Company, 1980.
Shone, Richard. Bloomsbury portraits: Vanessa Bell, Duncan Grant and their circle. Oxford: Phaidon, 1976.
Shone, Richard. The art of Bloomsbury: Roger Fry, Vanessa Bell, and Duncan Grant. Princeton, NJ: Princeton University Press, 1999.
Sir Reynolds, Joshua. Fifteen Discourses Delivered in the Royal Academy. London: J. Dent; New York: E. Dutton, 1906.
Spalding, Frances. Vanessa Bell: Portrait of the Bloomsbury Artist. New York: Bloomsbury Publishing PLC, 2019.
Spalding, Frances. British Art Since 1900. London: Thames and Hudson Ltd, 1989.
Spalding, Frances. Vanessa Bell. New Haven: Ticknor & Fields, 1983.
Sutton, Denys. Letters of Roger Fry. 2 vols. Ed. London: Chatto and Windus, 1972.
Sellers, Susan. Vanessa and Virginia. London: Houghton Mifflin Harcourt, 2009.
Tickner, Lisa. Modern life & modern subjects: British art in the early twentieth century. New Haven, CT: Yale University Press, 2000.
Twitchell, Beverly H. Cézanne and formalism in Bloomsbury. Ann Arbor, Michigan: UMI Research Press, 1946.
Watney, Simon. English post-impressionism. London: Studio Vista, 1980.
Woolf, Virginia. Moments of being: unpublished autobiographical writings. New York: Harcourt Brace Jovanovich.
Woolf, Virginia. The letters of Virginia Woolf, Vol.1. New York: Harcourt Brace Jovanovich, 1977.
Yeldham, Charlotte. Women artists in nineteenth-century France and England: their art education, exhibition opportunities and membership of exhibiting societies and academies, with an assessment of the subject matter of their work and summary biographies. New York: Garland, 1984.

四、中文期刊論文
楊莉馨。〈「尼莎擁有我渴望的一切」—論貝爾繪畫藝術對伍爾夫創作的影響〉。《南京師範大學文學院學報》01 期，（2003 年 3 月）頁 129-134。
段艷麗。〈上帝用同樣的線條勾畫了我們的大腦—弗吉尼亞．伍爾夫與姐姐文尼莎．貝爾〉。《百花洲》01 期，（2008 年）頁 109-115。
呂杰章。〈布魯姆斯伯里團體的瓦尼薩．貝爾〉。《世界美術》02 期（2009 年2 月）頁 41-46。

五、西文期刊論文
Losee, William F. “James McNeill Whistler, the Painter.” Brush and Pencil, vol. 12, no. 5, (1903). 328–333.
Jane Lilienfeld, “Introduction: Virginia Woolf and Literary History.” Woolf Studies Annual, vol. 9, (2003). 85.
Janet Sayers, “Rebel Psychoanalyst Adrian Stephen: Brother of Virginia Woolf.”British Journal of Psychotherapy, vol. 34, (Aug.2018). 489.
Morgan, H. Cliff. “The Schools of the Royal Academy.” British Journal of Educational Studies, vol. 21, no. 1, (1973). 100.
Elinor, Gillian. “Vanessa Bell and Dora Carrington: Bloomsbury Painters.” Woman’s Art Journal, vol. 5, no. 1, (1984). 29.
Jamie Wood,” On or about December 1910’: F. T. Marinetti's Onslaught on London and Recursive Structures in Modernism “Modernist Cultures, , vo. 10, No. 2, (July 2015). 135-158.
Turner, Edward Raymond. “The Women’s Suffrage Movement in England.” The American Political Science Review, vol. 7, no. 4, (1913). 594-598.
Marks, Arthur S. “A Sign and a Shop Sign: The Ω and Roger Fry’s Omega Workshops.”The British Art Journal, vol. 13, no. 1, (2012). 30.
Richard Shone, "The Friday Club", Burlington Magazine, vol. 117, no. 866, (May 1975). 279-284.
Hsiu-ling Lin, “Reconciling Bloomsbury’s Aesthetics of Formalism with the Politics of Anti-Imperialism: Roger Fry’s and Clive Bell’s Interpretations of Chinese Art”, Concentric: Studies in English Literature and Linguistics 27.1 (January 2001). 174.
Tickner, Lisa. “Vanessa Bell: Studland Beach, Domesticity, and ‘Significant Form.’” Representations, no. 65, (1999). 63-65.
Risdon, Peter. “Still-Life (Triple Alliance) by Vanessa Bell (1879–1961): A Problematic Title.” The British Art Journal, vol. 19, no. 3, (2018). 114-116.

六、中文博碩士論文
申靜。《從布魯姆斯伯里派到歐米伽工作坊》。南京藝術學院 設計藝術學，碩士論文，2014 年 4 月。

七、電子資源
皇家藝術學院 (Royal Academy of Arts)：線上大英百科全書https://www.britannica.com/topic/Royal-Academy-of-Arts (檢索日期：2022 年 4 月 20 日)
《爆破》：現代主義期刊項目(Modernist Journals Project) . https://modjourn.org/journal/blast/ (檢索日期：2022 年 12 月 17 日)
Dulwich Picture Gallery. https://www.youtube.com/watch?v=XeYaVAHpnz0&t=8s (檢索日期：2022 年 12 月 17 日)
多位藝術家的原創木刻 (Original Woodcuts by Various Artists.)https://www.jonkers.co.uk/rare-book/7419/original-woodcuts-by-various-artists/roger-fry (檢索日期：2022 年 12 月 17 日)
查爾斯頓閣樓 (THE CHARLESTON ATTIC. )https://thecharlestonattic.wordpress.com/2016/01/13/original-woodcuts/ （檢索日期：2022 年 11 月 6 日）
凡妮莎．貝爾的書籍防塵套設計(Vanessa Bell dust jacket for To the Lighthouse)： 大英圖書館網站 https://www.bl.uk/collection-items/vanessa-bell-dust-jacket-for-to-the- lighthouse （檢索日期：2022 年 5 月 29 日）
格蘭特抽象作品：美國現代美術館 (MOMA)https://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?work=96 （檢索日期：2023 年 2 月 18 日）