Abstract
As an art critic Clive Bell has always suffered in comparison with Roger Fry. He was not a painter and claimed not to analyse pictures so much as to appreciate them. Fry’s greater originality is evidenced in the ideas that Bell begged, borrowed, and sometimes (to Fry’s irritation) stole from him. Bell may, indeed, be the least liked member of Bloomsbury. His friends and relatives acknowledged his generosity, charm, and vitality; he was second to none in Bloomsbury in his capacity for admiration and enjoyment, and Desmond MacCarthy thought it ‘impossible to overestimate the part played by him in the creation of Bloomsbury’ (BGII, p. 70). But Bell has been found wanting by biographers and critics of the Group — as a husband, a father, and especially a brother-in-law. It is undeniable that he was a wealthy snob, hedonist, and womaniser, a racist and an anti-Semite (but not a homophobe), who changed from a liberal socialist and pacifist into a reactionary appeaser. Bell’s reputation has led to his being underestimated in the history of Bloomsbury; there is no collected edition of his works or his lively correspondence. Yet despite Fry’s greater achievements as a critic, nothing he wrote has had as wide an influence as Bell’s book on art.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Copyright information
© 2003 S. P. Rosenbaum
About this chapter
Cite this chapter
Rosenbaum, S.P. (2003). The Art of Clive Bell’s Art. In: Georgian Bloomsbury. Palgrave Macmillan, London. https://doi.org/10.1057/9780230505124_3
Download citation
DOI: https://doi.org/10.1057/9780230505124_3
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-38863-9
Online ISBN: 978-0-230-50512-4
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)