(1) Felicia Browne obituary, Artists' International Association (1936)

The newspapers can be relied upon to make capital out of the fact that she was a woman, and she was the last person to wish to lay any undue stress upon the significance of this fact. But it has significance. She had it in her to represent the very best type of the new woman, but the kind of upbringing to which she was automatically subjected and and the forces with which she had to compete in a society where commercial values are preeminent, seriously and unnecessarily delayed her in harmonising all the remarkable powers within her.

She had most of the best human characteristics, but she conceived her own variety more as a source of opposition than of enjoyment. She was without guile, duplicity or vanity; painfully truthful and honest, immensely kind and generous, completely humane, loving any aspect of livingness, and as capable of enormous humour as she was deeply serious. She was gifted at every craft that she tried, a witty letter-writer, an amusing cartoonist, a vital and interesting companion, and socially much too gracious to belong credibly to the twentieth century. She was enormously well read, with a literary visual capacity which would have made her an excellent illustrator, particularly of Dante and Kafka, by whose strange and elaborate cosmogonies she became fascinated in the last year. She loved and appreciated good music and poetry, and whenever she got it, good food and drink - though materially she was remarkably careless and hopelessly generous.

But if her fighting was the expression of her deeply conscientious but less happy side, at least she had intellectual faith in the future. And she found happiness at the end, as far as one can judge from her letters, in a real sense of comradeship with her fellow militiamen. Intellectually she was quite clear about what was necessary for the next few years other life. In a letter to a friend written just before she went to Spain she said, 'You say I am escaping and evading things by not painting or making sculpture. If there is no painting or sculpture to be made, I cannot make it. I can only make out of what is valid and urgent to me. If painting or sculpture were more valid or urgent to me than the earthquake which is happening in the revolution, or if these two were reconciled so that the demands of the one didn't conflict (in time, even, or concentration) with the demands of the other, I should paint or make sculpture.'