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“... 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 ...”

“... Julian Bell returned briefly to England in the spring of 1937. He was 29; he had been teaching in China for 18 months and was now determined to fight in Spain. Everyone knew this was his plan, or rather everyone except his mother, Vanessa, whom Julian had told that he might not go, that ‘of course it would depend on my persuading you ...”

“... 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 technologies that seemed mature have changed and expanded their reach. In 1950 we lived in an image flood. We are now, as Bell puts it, in an image jam ...”

“... kept waiting weeks before he could safely post off his latest canvas to his dealer-brother Theo. Julian Bell, in his useful short biography and appraisal, aptly describes Starry Night over the Rhône as ‘closer to a sculptural relief than a reproducible flat image’. The life gets in the way as well. We have become over-familiar with the lineaments ...”

“... I adore war,’ Julian Grenfell reported to his mother from the Flemish trenches in 1914, in a letter which she proudly sent on for anonymous publication in the Times. Stalking Germans through the mud was not very different from stalking partridges, as he noted in his game book: ‘November 16th; 1 Pomeranian. November 17th; 2 Pomeranians ...”

“... which shed a little of its ambiguous glamour over him, and at the same time he became a friend of Julian Bell, who invited him to Charleston. In 1931 the Woolfs, who had printed his first tentative book of poems, took him on as a dogsbody and part-time commercial traveller at the Hogarth Press. They had already run through two assistants, but, all the ...”

“... many artists have felt indifferent and even hostile to the genre, or regarded it as inappropriate. Julian Bell is untroubled by this in his elegant introduction to Five Hundred Self-Portraits, a slickly packaged picture book. Bell says that by 1500, ‘when Dürer searches in himself for the likeness of ...”

“... It​ seems to be a foregone conclusion that Vanessa Bell isn’t much good. There are those devoted types, of course, for whom the sensibility of her paintings, as well as their subjects, makes them windows into a beloved world. But perhaps they are seeing something more than this. If so, it shouldn’t be surprising; they have been looking the longest ...”

“... British Literary Diaspora’. Norman Douglas is in Capri and Basil Bunting in Tenerife and Julian Bell at Wuhan University! Mr Fussell, who has a fondness for what may be termed enumerative criticism, produces a long list of such displacements. And all through the Twenties and Thirties this Sehnsucht remains rampant and the flight goes on ...”

“... none of them had the social and intellectual distinctionof some famous Brigadiers from elsewhere: Julian Bell, John Cornford or André Malraux. But their motives for fighting were large – larger than Spain. As one old volunteer told Hochschild, ‘For us it wasn’t Franco … it was always Hitler.’ Before the populations of the democracies woke up ...”

“... Frank was both intellectual and Communist – following similar books in memory of John Cornford, Julian Bell and David Haden-Guest, all killed in the Spanish Civil War. (The present title, Beyond the Frontier, nods towards Stansky and Abrahams’s 1966 Journey to the Frontier, a reworking of the lives of Cornford and ...”

“... generation throws in the sponge’. When Virginia Woolf, saddened by the death of her nephew Julian Bell in Spain, called on women to see that Fascism, war and patriotism were all the work of men and adopt a principled pacifism, Rathbone dismissed her out of hand, quite careless of the fact that most women were pro-appeasement. When war came she ...”

“... and repression of British life that my generation of undergraduates hated were epitomised in Julian Slade’s long-running musical Salad Days, the story of a pair of inane Cambridge graduate newly-weds living in London with a magic piano. It opened in the summer of 1954, a few months before I went up to Oxford, and featured a jolly song supposedly ...”

“... which is shaped like a swastika, are clasped like dildos. The painting has been aptly described by Julian Bell as ‘sexual fantasy serving as ornate apology for Fascism’. If, as Jones believed, the war distorted the female principle in the world, it also distorted the presentation of that female principle in his painting, just as it did in his ...”