Julian Bell

Julian Bell is the author of What Is Painting?

Bourgeois Reveries: Farmer Eliot

Julian Bell, 3 February 2011

‘In T.S. Eliot we find the poet as farmer’: now that truly is revisionist. If the pin-striped modernist with the ‘features of clerical cut’ ever put his hand to a pitchfork, the incident has gone unreported. And yet in Romantic Moderns, her provocative critical survey of English cultural life between 1930 and 1945, Alexandra Harris points to Eliot’s lines in...

The upright canvas, some 4’6’’ by 3’, stood on Salvator Rosa’s easel, prepared with a burnt umber ground. The painter first attacked it, as far as I can see, with a black-loaded brush, dragging a jagged stuttery line almost from top to bottom. That was to be the rock edge of Etna’s crater. Where the volcanic glow was to fall, Rosa slapped on a queasy mid-tone mix of sienna and smalt blue; capped it with brisk blurts of white; later, knocked the resulting rock planes back into readable order with red and yellow glazes. But that vertical divide of his, tumbling and forking in ever crazier lurches, still retains a lightning urgency. Here you meet the gestural painting of the 1660s, as vehement and imperious in its own way as the art of Clyfford Still.

‘God created man.’ There are various ways you might read those words even without looking beyond the scriptures. Set them in the context of archaeology and a different reading altogether suggests itself. Primates turn recognisably human when factors beyond the reach of the senses leave traces in their behaviour. It is an intrusion of the invisible that sets homo sapiens apart from...

A prim and eager young clerk, working for his art-dealer uncle, is writing to his schoolboy brother. Pictures and books are the 19-year-old’s meat and drink: he soon adds Millais, Dickens and George Eliot to his love for Jean-François Millet, when in 1873, Goupil & Co, agents in lithographs, steel engravings and ‘modern paintings’, send him from The Hague to their...

Look Me in the Eye: Art and the Brain

Julian Bell, 8 October 2009

‘We’re confident it’s real’: Arthur Aron is a psychologist who has discovered that blood-flows in the brains of people claiming to be in love after decades of marriage resemble those of new lovers. Romance may authentically survive: ‘That’s what the brain scans are telling us. People can’t fake that.’ ‘Brain-Scan Lie Detectors Coming in...

Divinity Incognito: Elsheimer by Night

Nicholas Penny, 7 September 2023

Although Adam Elsheimer provided miniatures for private and privileged delectation, his work enjoyed an enormous influence, partly because of his close association with a great engraver, Hendrick Goudt,...

Read more reviews

Selfie with ‘Sunflowers’

Julian Barnes, 30 July 2015

No one did colour more blatantly and more unexpectedly than Van Gogh.

Read more reviews

Global Moods: Art, Past and Present

Peter Campbell, 29 November 2007

Julian Bell has written a tremendous history of world art, one that will inevitably be compared with Gombrich’s The Story of Art, published nearly sixty years ago. Since then image-making...

Read more reviews

Look me in the eye: self-portraiture

James Hall, 25 January 2001

According to the catalogue for the National Gallery exhibition of Rembrandt self-portraits, the artist’s portrayal of himself is ‘unique in art history, not only in its scale and the...

Read more reviews

Read anywhere with the London Review of Books app, available now from the App Store for Apple devices, Google Play for Android devices and Amazon for your Kindle Fire.

Sign up to our newsletter

For highlights from the latest issue, our archive and the blog, as well as news, events and exclusive promotions.

Newsletter Preferences