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D. H. LawrenceAesthetics and Ideology$
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Anne Fernihough

Print publication date: 1993

Print ISBN-13: 9780198112358

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780198112358.001.0001

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Lawrence and Bloomsbury I: Significant Form

Lawrence and Bloomsbury I: Significant Form

Chapter:
(p.83) 4 Lawrence and Bloomsbury I: Significant Form
Source:
D. H. Lawrence
Author(s):

Fernihough Anne

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198112358.003.0005

Clive Bell's Art (1914), one of the key texts of Bloomsbury art-criticism, is at best an incoherent work and, at worst, a disturbingly elitist one. Peter Fuller, in Art and Psychoanalysis, is harshly critical of it in ways that few people would wish to question, attacking Bell as ‘opinionated, arrogant, ultimately downright reactionary’, yet nonetheless finding in Bell's theory ‘kernels of truth’ that can shed light on his own arguments. In spite of its faults, Bell's Art is an important text for the student of D. H. Lawrence's art-criticism. Lawrence had many direct and indirect connections with Bloomsbury, and Bell and Roger Fry are two of the very few art-critics he takes the trouble to criticize overly. In fact, his attack on Bloomsbury aesthetics is vociferous and uncompromising. As a result, literary history has generally defined Lawrence's views on art in opposition to those of Bloomsbury, which is not the most fruitful way of approaching the art-criticism of either camp.

Keywords:   Clive Bell, art-criticism, Bloomsbury, art, D. H. Lawrence, aesthetics, Roger Fry

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