Онлайн книга
Примечания книги
1
Hadley Haden Guest, ed., The Collected Poems of Barbara Guest, 9.
2
Stevens and Swan, De Kooning, 382–383.
3
Grace Hartigan, Notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse.
4
Dr. Guy Fried, telephone interview by author.
5
Grace Hartigan, Notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse; Stevens and Swan, De Kooning, 384–385.
6
Grace Hartigan, Notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse; Stevens and Swan, De Kooning, 385.
7
Clay Fried, interview by author.
8
Ernestine Lassaw, interview by author.
9
Stevens and Swan, De Kooning, 385; Hall, Elaine and Bill, 243.
10
Clay Fried, interview by author.
11
Stevens and Swan, De Kooning, 383.
12
Stevens and Swan, De Kooning, 383–384.
13
Maud Fried Goodnight, telephone interview by author; Hess, Willem de Kooning (1968), 101.
14
Hall, Elaine and Bill, 100; Ernestine Lassaw, interview by author.
15
Chancey, “Elaine de Kooning”, 106; Elaine de Kooning, C. F. S. Hancock Lecture, 3.
16
Art Barge — Artists Speak, with Elaine de Kooning, videotape courtesy LTV, Inc.
17
Elaine de Kooning, C. F. S. Hancock Lecture, 3.
18
Elaine de Kooning, C. F. S. Hancock Lecture, 2.
19
Elaine de Kooning, interview by Molly Barnes, 3.
20
Elaine de Kooning, C. F. S. Hancock Lecture, 2.
21
Oral history interview with Helen Frankenthaler, AAA-SI.
22
Clement Greenberg Diary Entry February 3, 1956, Friday, Greenberg Journal, Black Journal 18, 1.1.14, Clement Greenberg Papers, GRI (950085).
23
Oral history interview with Elaine de Kooning, AAA-SI; James E. B. Breslin, Mark Rothko, 386–387.
24
Wetzsteon, Republic of Dreams, 538–539; oral history interview with Elaine de Kooning, AAA-SI.
25
Ashton, The New York School, 199; oral history interview with Sally Avery, AAA-SI; Stahr, “The Social Relations of Abstract Expressionism”, 120.
26
Oral history interview with Elaine de Kooning, AAA-SI.
27
Oral history interview with Elaine de Kooning, AAA-SI; Breslin, Mark Rothko, 387.
28
Elaine de Kooning, “Two Americans in Action”, 176.
29
Elaine de Kooning, “Two Americans in Action”, 177.
30
Elaine de Kooning, “Two Americans in Action”, 177.
31
Stevens and Swan, De Kooning, 386.
32
Hess, Willem de Kooning (1968), 100.
33
Движение за благоразумие в искусстве, боровшееся с абстракцией, кубизмом и так далее. Прим. перев.
34
Stevens and Swan, De Kooning, 387; Hess, Willem de Kooning (1968), 100.
35
Hess, Willem de Kooning (1968), 100; Thomas B. Hess, interview by Mitch Tuchman, AAA-SI, 19.
36
Thomas B. Hess, interview by Mitch Tuchman, AAA-SI, 20.
37
Abstract Expressionists, 1956, warholartstars.org; Naifeh and Smith, Jackson Pollock, 765, 777; Robson, “The Market for Abstract Expressionism”, 20; Marquis, The Art Biz, 244.
38
Deborah Daw, “Lee Krasner, On Climbing a Mountain of Porcelain”, Series 2, Subseries 4, Box 10, Folder 9, Lee Krasner Papers, AAA-SI, 23.
39
Van Horne, A Complicated Marriage, 133.
40
Van Horne, A Complicated Marriage, 133.
41
Van Horne, A Complicated Marriage, 133, 134.
42
Van Horne, A Complicated Marriage, 133.
43
Van Horne, A Complicated Marriage, 133, 135.
44
Van Horne, A Complicated Marriage, 133, 134.
45
Solomon, Jackson Pollock, 245; Hobbs, Lee Krasner (1999), 14.
46
Van Horne, A Complicated Marriage, 134.
47
Solomon, Jackson Pollock, 245.
48
Landau, Lee Krasner: A Catalogue Raisonné, 311; Naifeh and Smith, Jackson Pollock, 768–769.
49
Naifeh and Smith, Jackson Pollock, 767.
50
Naifeh and Smith, Jackson Pollock, 767.
51
Naifeh and Smith, Jackson Pollock, 769.
52
Potter, To a Violent Grave, 210.
53
Potter, To a Violent Grave, 228.
54
Potter, To a Violent Grave, 228.
55
Ruth Kligman, Love Affair, 15. Она считала лимузин атрибутом обязательным.
56
Potter, To a Violent Grave, 228.
57
Oral history interview with Audrey Flack, AAA-SI; Potter, To a Violent Grave, 228; Kligman, Love Affair, 26.
58
Kligman, Love Affair, 25; Van Horne, A Complicated Marriage, 77.
59
Van Horne, A Complicated Marriage, 77; Kligman, Love Affair, 29.
60
Kligman, Love Affair, 26–28.
61
Kligman, Love Affair, 29.
62
Dawson, An Emotional Memoir of Franz Kline, 81.
63
Kligman, Love Affair, 29.
64
Kligman, Love Affair, 29–30.
65
Kligman, Love Affair, 30–31.
66
Naifeh and Smith, Jackson Pollock, 777–778.
67
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 95, 97.
68
Potter, To a Violent Grave, 228.
69
Levin, Lee Krasner, 307.
70
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 3.
71
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 2, 3, 6.
72
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 2, 5.
73
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 3–4.
74
Albert E. Elsen, Paul Jenkins, 37, courtesy Suzanne D. Jenkins.
75
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 3; Paul Jenkins to Jackson Pollock and Lee Krasner, April 17, 1956, © 2017 Estate of Paul Jenkins, courtesy Suzanne D. Jenkins.
76
Solomon, Jackson Pollock, 244.
77
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 75.
78
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 76–78.
79
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 76–77.
80
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 75, 77; Tibor de Nagy Gallery Files, Box 28, Folder 1, AAA-SI. Грейс продала «Городскую жизнь» Нельсону Рокфеллеру за две тысячи долларов. А в следующем месяце, в июле 1956 года, Метрополитен-музей приобрел за полторы тысячи долларов другую ее картину, «Витрина».
81
“Grace Hartigan, Painting from Popular Culture, Three Decades”, Susquehanna Art Museum; Michael Kimmelman, “Review/Art; Explosive Painting: The Path to Pop”, New York Times, July 9, 1993, http://www.nytimes.com/1993/07/09/arts/review-art-explosive-painting-the-path-to-pop.html?pagewanted=all. In the exhibition and catalog Hand-Painted Pop: American Art in Transition, 1955–1962. Куратор (Лос-Анджелесского музея современного искусства) Пол Шиммель писал, что Грейс и Ларри стали мостом между абстрактными экспрессионистами и поп-артом.
82
Letter from prison inmate to Grace Hartigan, c/o Dorothy Miller, Twelve Americans Show, Dorothy C. Miller Papers, I.9.b, MOMA.
83
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 77.
84
“Month in Review, In the Galleries”, Arts 30, no. 9 (June 1956): 49; Ashton, The Life and Times of the New York School, 212; “Young Americans, 1956”, Dorothy C. Miller Papers, I.12, MOMA.
85
“Month in Review, In the Galleries”, Arts 30, no. 9 (June 1956): 49.
86
Albers, Joan Mitchell, 237.
87
De Coppet and Jones, The Art Dealers, 85–86; Philip Guston, interview by Jack Taylor.
88
Albers, Joan Mitchell, 237.
89
“Month in Review, In the Galleries”, Arts 30, no. 9 (June 1956): 50.
90
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; oral history interview with Joan Mitchell, May 21, 1965, AAA-SI; Joan Mitchell to Barney and Loly Rosset, May 18, 1955, 150 Avenue Emile Zola, JMFA003, JMF; Joan Mitchell to Barney and Loly Rosset, September 17, 1955, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, October 1948, November 3, 1948, July 22, 1948, July 16, 1948, Paris to New York, JMFA003, JMF.
91
Moutet, “An American in Paris”, 74.
92
Bair, Samuel Beckett, 488.
93
Bair, Samuel Beckett, 488.
94
Albers, Joan Mitchell, 239.
95
Helen Frankenthaler to Sonya Gutman, February 25, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
96
Helen Frankenthaler to Sonya Gutman, Tuesday evening April 17, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Helen Frankenthaler to Sonya Gutman, February 2, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1; Helen Frankenthaler to Sonya Gutman, January 23, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
97
Helen Frankenthaler to Sonya Gutman, Tuesday evening April 17, 1956, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Helen Frankenthaler to Sonya Gutman, February 2, 1956, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
98
Helen Frankenthaler to Sonya Gutman, October 30, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 3.
99
Barbara Guest, Diary 1956, March 14 entry, Uncat Za MS 271, Box 26, Barbara Guest Papers, Yale.
100
Helen Frankenthaler to Sonya Gutman, Tuesday evening April 17, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
101
Van Horne, A Complicated Marriage, 70; Rubenfeld, Clement Greenberg, 200; Helen Frankenthaler to Barbara Guest, June 7, 1956, Southampton to New York, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
102
Helen Frankenthaler to Barbara Guest, July 23, 1956, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; Helen Frankenthaler to Sonya Gutman, April 17, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
103
Naifeh and Smith, Jackson Pollock, 779.
104
Dorfman, Out of the Picture, 61; oral history interview with Dorothy C. Miller, AAA-SI.
105
Potter, To a Violent Grave, 230–231.
106
Friedman, Energy Made Visible, 232–233.
107
Hobbs, Lee Krasner (1999), 14; Rubenfeld, Clement Greenberg, 200.
108
Potter, To a Violent Grave, 232.
109
Ernestine Lassaw, interview by author.
110
Kligman, Love Affair, 72, 79.
111
Naifeh and Smith, Jackson Pollock, 778–779.
112
Dorfman, Out of the Picture, 61.
113
Potter, To a Violent Grave, 223.
114
Kligman, Love Affair, 83; Potter, To a Violent Grave, 230–232; Naifeh and Smith, Jackson Pollock, 780.
115
Kligman, Love Affair, 90; Naifeh and Smith, Jackson Pollock, 780.
116
Oral history interview with Lee Krasner, November 2, 1964 April 11, 1968, AAA-SI; Levin, Lee Krasner, 305.
117
Oral history interview with Lee Krasner, November 2, 1964 April 11, 1968, AAA-SI; Levin, Lee Krasner, 305; Lee Krasner, interview by Robert Coe, videotape courtesy PKHSC.
118
Kligman, Love Affair, 89–90, 92.
119
Kligman, Love Affair, 95–96.
120
Kligman, Love Affair, 96.
121
Van Horne, A Complicated Marriage, 76; Rubenfeld, Clement Greenberg, 200.
122
Solomon, Jackson Pollock, 247; Naifeh and Smith, Jackson Pollock, 782.
123
Potter, To a Violent Grave, 233; Naifeh and Smith, Jackson Pollock, 782.
124
Potter, To a Violent Grave, 250; Kligman, Love Affair, 98.
125
Friedman, Give My Regards to Eighth Street, 103.
126
Lee Krasner to Jackson Pollock, Saturday July 21, 1956, Paris to Springs, Jackson Pollock and Lee Krasner Papers, AAA-SI. В этом письме Ли благодарит Джексона за розы и дает ему свой актуальный адрес, что означает, что он посылал цветы не в ее гостиничный номер, как часто описывают биографы, а, по всей вероятности, отправил их на адрес Дженкинсов, у которых Ли остановилась, когда приехала в Париж.
127
Wallach, “Lee Krasner’s Triumph”, 501; Rose, Lee Krasner: The Long View, videotape courtesy PKHSC.
128
Lee Krasner to Jackson Pollock, 1956, from Paris to East Hampton, Jackson Pollock Papers, Box 1, Folder 46, AAA-SI; Hôtel du Quai Voltaire (en.parisinfo.com/paris-hotel-accommodation/69360/hôtel-du-quai-voltaire).
129
Lee Krasner to Jackson Pollock, Saturday July 21, 1956, from Paris to East Hampton, Jackson Pollock Papers, Box 1, Folder 46, AAA-SI.
130
Lee Krasner to Jackson Pollock, Saturday July 21, 1956, from Paris to East Hampton, Jackson Pollock Papers, Box 1, Folder 46, AAA-SI.
131
Helen Frankenthaler to Barbara Guest, n.d. 1956, Venice, Italy, to New York, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
132
Larry Rivers to Frank O’Hara, June 25, 1956, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 9, NYU.
133
Helen Frankenthaler to Barbara Guest, n.d. 1956, Venice, Italy, to New York, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
134
Helen Frankenthaler to Barbara Guest, July 23, 1956, Paris to Long Island, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
135
Lee Krasner to Jackson Pollock, 1956, postcard from Paris to East Hampton, Jackson Pollock Papers, Series 1, Box 1, Folder 46, AAA-SI.
136
Lee Krasner to Mr & Mrs Jenkins, July 30, 1956, Menerbes to Paris, Paul Jenkins Papers, 1932–2009, AAA-SI; Lee Krasner to Jackson Pollock, n.d. [1956], postcard from Menerbes to East Hampton, Jackson Pollock Papers, Series 1, Box 1, Folder 46, AAA-SI; Postcard from Lee Pollock to Mr. and Mrs. Clement Greenberg, n.d. [1956], Menerbes to East Hampton, Clement Greenberg Papers, 1937–1983, AAA-SI.
137
Lee Krasner to Jackson Pollock, n.d. [1956], postcard Menerbes to East Hampton, Jackson Pollock Papers, Series 1, Box 1, Folder 46, AAA-SI.
138
Lee Pollock to Mr. and Mrs. Clement Greenberg, n.d. [1956], postcard Menerbes to East Hampton, Clement Greenberg Papers, 1937–1983, AAA-SI.
139
Guggenheim, Out of This Century, 336, 346–347.
140
Diamonstein-Spielvogel, Inside New York’s Art World, 208; Lee Krasner to Jackson Pollock, 1956, from Menerbes to East Hampton, Jackson Pollock Papers, Box 1, Folder 46, AAA-SI.
141
Rose, Lee Krasner, 98.
142
Levin, Lee Krasner, 315.
143
Helen Frankenthaler to Clem and Jenny Greenberg, August 3, 1956, postcard Amsterdam to New York, Series 3, Box 3, Folder 38, Clement Greenberg Papers, 1937–1983, AAA-SI; Elderfield, “Painted on 21st Street”, 91.
144
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 11; Solomon, Jackson Pollock, 248.
145
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 12.
146
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
147
Naifeh and Smith, Jackson Pollock, 783-84.
148
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13–14.
149
Hobbs, Lee Krasner (1999), 15; Rose, Lee Krasner, 95; Potter, To a Violent Grave, 262; Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins,13.
150
Suzanne D. Jenkins, interview by author; Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
151
Helen Frankenthaler to Barbara Guest, July 23, 1956, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
152
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
153
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
154
Maurice Poirier, “Helen Frankenthaler: Working Papers”, n.p.; Alison Rowley, Helen Frankenthaler, 110–112. Интервью с несколькими ближайшими соратниками Франкенталер и искусствоведами, которые работали с ней над несколькими крупными проектами, не позволяют установить четкой связи между этой картиной Хелен и смертью Поллока. Но Элисон Роули в своей книге Helen Frankenthaler: Painting History, Writing Painting проводит между ними четкую параллель. Элисон перед публикацией показывала Хелен свою рукопись для утверждения, и та не возражала против такой интерпретации Роули — что эта картина была реакцией на смерть Поллока. Хелен не возражала и против включения в текст заявления критика Мориса Пуарье, сделанного после интервью с ней, — о том, что эта картина была написана в состоянии «сильнейшего душевного потрясения» и что художница тогда чувствовала себя «обязанной выразить свои чувства в визуальной форме». Я думаю, разумно будет предположить, что известие о насильственной смерти художника, творчество которого сыграло решающую роль в том, что Хелен в свое время смогла найти собственное направление в творчестве и выработать собственный стиль, как она часто сама заявляла, вдохновило ее отреагировать картиной. Кстати, так поступили и другие художники, гораздо менее связанные с Поллоком в творческом плане, в том числе, например, Джоан Митчелл. Кроме того, Хелен, как известно, часто включала в свои работы биографические детали и увековечивала в них память о других художниках, которые были для нее важны и значимы. Но нужно признать, что кроме даты, указанной на картине — август 1956 года, — других указаний на то, когда Хелен ее написала, у нас нет. Я поместила рассказ об этой работе в тот день, когда художница узнала о смерти Джексона, потому что считаю, что эта шокирующая новость в любом случае способствовала ее созданию.
155
Paul Jenkins to Clement Greenberg, August 15, 1956, Series 3, Box 3, Folder 15, Clement Greenberg Papers, 1937–1983, AAA-SI.
156
Dodie Kazanjian, Notes from interview with Helen Frankenthaler, Project Artist Files, Dodie Kazanjian Papers, ca. 1980–2010, AAA-SI; Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
157
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
158
Friedman, Energy Made Visible, 247; Potter, To a Violent Grave, 247; Paul Jenkins to Clement Greenberg, August 15, 1956, Series 3, Box 3, Folder 15, Clement Greenberg Papers, 1937–1983, AAA-SI.
159
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins,13.
160
Dawson, An Emotional Memoir of Franz Kline, 88.
161
Paul Jenkins to Clement Greenberg, August 15, 1956, Series 3, Box 3, Folder 15, Clement Greenberg Papers, 1937–1983, AAA-SI; Friedman, Energy Made Visible, 248.
162
Friedman, Energy Made Visible, 248–249; Potter, To a Violent Grave, 252–253.
163
Friedman, Energy Made Visible, 248; Potter, To a Violent Grave, 252–253.
164
Potter, To a Violent Grave, 228.
165
Van Horne, A Complicated Marriage, 78; Potter, To a Violent Grave, 228.
166
Potter, To a Violent Grave, 232–239.
167
Naifeh and Smith, Jackson Pollock, 783, 785.
168
Kligman, Love Affair, 127.
169
Friedman, Energy Made Visible, 235; Kligman, Love Affair, 166.
170
Naifeh and Smith, Jackson Pollock, 784.
171
Van Horne, A Complicated Marriage, 79.
172
Potter, To a Violent Grave, 235–136.
173
Naifeh and Smith, Jackson Pollock, 786; Kligman, Love Affair, 171.
174
Kligman, Love Affair, 171, 174, 179–180, 188.
175
Kligman, Love Affair, 180.
176
Kligman, Love Affair, 187.
177
Kligman, Love Affair, 188–189.
178
Kligman, Love Affair, 191.
179
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6; Potter, To a Violent Grave, 239; Kligman, Love Affair, 192.
180
Kligman, Love Affair, 197, 199.
181
Kligman, Love Affair, 200; Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
182
Potter, To a Violent Grave, 240.
183
Kligman, Love Affair, 200; Fielding Dawson, An Emotional Memoir of Franz Kline, 81.
184
Kligman, Love Affair, 193–194.
185
Kligman, Love Affair, 200.
186
Kligman, Love Affair, 201.
187
Kligman, Love Affair; Potter, To a Violent Grave, 240; Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
188
Potter, To a Violent Grave, 16, 240–241.
189
Potter, To a Violent Grave, 241–242.
190
Potter, To a Violent Grave, 242–243.
191
Potter, To a Violent Grave, 244.
192
Potter, To a Violent Grave, 244, 246.
193
Van Horne, A Complicated Marriage, 82–83; Friedman, Energy Made Visible, 237; Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6; Potter, To a Violent Grave, 245; Francine du Plessis and Cleve Gray, “Who was Jackson Pollock?”, 57.
194
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
195
Van Horne, A Complicated Marriage, 83.
196
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
197
Clement Greenberg to B. H. Friedman, August 10, 1972, Clement Greenberg Papers, Box 3, Folder 15, Clement Greenberg Papers, 1937–1983, AAA-SI; Potter, To a Violent Grave, 245.
198
Van Horne, A Complicated Marriage, 83; Rubenfeld, Clement Greenberg, 202–203; Potter, To a Violent Grave, 246.
199
Van Horne, A Complicated Marriage, 84.
200
Van Horne, A Complicated Marriage, 84–85; Potter, To a Violent Grave, 252.
201
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
202
Potter, To a Violent Grave, 250.
203
Potter, To a Violent Grave, 253.
204
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6; Van Horne, A Complicated Marriage, 87; Rubenfeld, Clement Greenberg, 202–203.
205
Potter, To a Violent Grave, 253.
206
Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
207
Potter, To a Violent Grave, 253; Deborah Solomon, notes on Clement Greenberg based on interview, December 19, 1983, Series 1, Box 1, Folder 2, Clement Greenberg Papers, 1937–1983, AAA-SI, 6.
208
Thomas B. Hess, “The Battle of Paris, Strip-Tease and Trotsky”, 30.
209
Myers, Tracking the Marvelous, 192; Albers, Joan Mitchell, 241.
210
Elaine de Kooning, interview by Jeffrey Potter, audiotape courtesy the PKHSC.
211
Potter, To a Violent Grave, 246.
212
Karmel, Jackson Pollock: Interviews, Articles, 84.
213
Frank O’Hara, Jackson Pollock, 32.
214
Friedman, Energy Made Visible, 250–251; Van Horne, A Complicated Marriage, 87–88; Potter, To a Violent Grave, 250, 256.
215
Oral history interview with Dorothy C. Miller, AAA-SI.
216
Nemser, Art Talk, 154.
217
Oral history interview with Dorothy C. Miller, AAA-SI.
218
Potter, To a Violent Grave, 251; Summer of ’57, videotape courtesy LTV, Inc.
219
Rose Slivka, “Willem de Kooning, on His Eighty-Fifth Birthday”, 220.
220
Friedman, Energy Made Visible, 251.
221
Van Horne, A Complicated Marriage, 88; Potter, To a Violent Grave, 259.
222
Theodoros Stamos to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
223
Friedman, Energy Made Visible, 253; Potter, To a Violent Grave, 258.
224
Naifeh and Smith, Jackson Pollock, 794.
225
Summer of ’57, videotape courtesy LTV, Inc.; Friedman, Energy Made Visible, 255.
226
Van Horne, A Complicated Marriage, 88.
227
Summer of ’57, videotape courtesy LTV, Inc.
228
Potter, To a Violent Grave, 260.
229
Van Horne, A Complicated Marriage, 88.
230
Potter, To a Violent Grave, 261.
231
Potter, To a Violent Grave, 260; Van Horne, A Complicated Marriage, 89.
232
Hobbs, Lee Krasner (1999), 15; Rose, Lee Krasner, 95; Potter, To a Violent Grave, 262.
233
Alfred Leslie, interview by Jack Taylor; oral history interview with Harold Rosenberg, AAA-SI.
234
Alfred Leslie, interview by Jack Taylor; Herman Cherry, interview by Jack Taylor; oral history interview with Jack Tworkov, AAA-SI; Mary Abbott, interview by author; Rivers, What Did I Do?, 342; LeSueur, Digressions on Some Poems by Frank O’Hara, 194; Jane Kramer, Off Washington Square, 111; Kaplan, 1959, 207–208.
235
Alfred Leslie, interview by Jack Taylor.
236
Alfred Leslie, interview by Jack Taylor; Herman Cherry, interview by Jack Taylor.
237
Michael Magee, “Tribes of New York”, 696–697.
238
Grace Hartigan to Tom Hess, September 4, 1959, Roll 5690, Thomas B. Hess Papers, AAA-SI. В письме к Гессу с критикой его утверждения о том, что Поллок мало помогал другим художникам, Грейс пишет: «В период с 1947 по 1952 год среди молодых художников… не было ни одного, кто не учился бы у Поллока, не опирался на его творчество и не вдохновлялся его работами и просто его присутствием».
239
Frank O’Hara to Lawrence Osgood, October 19, 1950, Donald Allen Collection of Frank O’Hara Letters, UConn.
240
O’Hara, Jackson Pollock, 117.
241
Friedman, “Lee Krasner”, draft manuscript, 1965, Series 2.4, Box 10, Folder 7, Lee Krasner Papers, AAA-SI, 12, 14.
242
Lee Krasner: An Interview with Kate Horsfield, videotape courtesy PKHSC.
243
Hobbs, Lee Krasner (1999), 15.
244
Hobbs, Lee Krasner (1999), 15.
245
Van Horne, A Complicated Marriage, 139.
246
Hubert Crehnan, “Recent Attacks on Abstract Art”, 62; Van Horne, A Complicated Marriage, 139; Robson, “The Market for Abstract Expressionism”, 22–23; Potter, To a Violent Grave, 272.
247
Levine, “A Portrait of Sidney Janis”, 53; Gruen, The Party’s Over Now, 251–152; Robson, “The Market for Abstract Expressionism”, 20–22; Halberstam, The Fifties, 587. Чтобы вам было понятнее, семья из среднего класса в 1956 году имела доход около пяти тысяч долларов в год.
248
Gruen, The Party’s Over Now, 251–252; Gill, Art Lover, 328.
249
Gruen, The Party’s Over Now, 251–252; John Lee Post, interview by author.
250
Levine, “A Portrait of Sidney Janis”, 53.
251
Gruen, The Party’s Over Now, 251–253.
252
Robson, “The Market for Abstract Expressionism”, 22; Irving Sandler, interview by author; Sandler, A Sweeper Up After Artists, 228.
253
Levine, “A Portrait of Sidney Janis”, 53; Solomon, Jackson Pollock, 253; Robson, “The Market for Abstract Expressionism”, 22.
254
Potter, To a Violent Grave, 272; Harold Rosenberg, “The Art Establishment”, 114. Гарольд считал, что заслуга взлета цен на американское абстрактное искусство практически «единолично» принадлежит ей.
255
Crehnan, “Recent Attacks on Abstract Art”, 62; Marquis, The Art Biz, 184; Marquis, Art Czar, 152; Robson, “The Market for Abstract Expressionism”, 19-3; Leo Castelli, interview with Mitch Tuchman, AAA-SI, 1.
256
Thomas B. Hess, “A Tale of Two Cities”, 38; Marquis, The Art Biz, 206–207; Crehnan, “Recent Attacks on Abstract Art”, 62–63; oral history interview with André Emmerich, AAA-SI. Гесс сказал, что аудитория авангарда «отправляется в мир искусства прежде всего за развлечениями, отдыхом и расслаблением в комфортной и красочной социальной среде».
257
Gruen, The Party’s Over Now, 219.
258
Michael Goldberg, interview by Jack Taylor.
259
George Ortman, New York Artists Equity Association 55th Anniversary Journal, December 18, 2002, 52.
260
Marquis, The Art Biz, 13; Saul Ostrow, “Michael Goldberg”, bombmagazine.org/article/2382/michael-goldberg.
261
Ostrow, “Michael Goldberg”.
262
Albers, Joan Mitchell, 246.
263
“Je ne puis penser qu’à toi”. Jean-Paul Riopelle to Joan Mitchell, February 6, 1957, Paris to New York, JMFA001, JMF; “Je n’ai jamais vu Paris aussi triste, je suis un véritable Robot…que tu le sais une fois pour toute que je n’ai envie de rien d’autre que toi”. Jean-Paul Riopelle to Joan Mitchell, dated Saturday, September [?] 21, 1957, Paris to New York, JMFA001, JMF. Translations by author.
264
Albers, Joan Mitchell, 264.
265
“Abstract Expressionism, 1957”, warholartstars.org.
266
Philip Guston, interview by Jack Taylor.
267
Levine, “The Golden Years”, 43.
268
Hess, Willem de Kooning (1968), 101.
269
Oral history interview with Harold Rosenberg, AAA-SI.
270
William Rubin, “The New York School, Part II”, 22. Рубин сказал, что самыми сильными художниками «второго поколения» были женщины. «В частности, я имею в виду Элен де Кунинг и Джоан Митчелл». Он также выделял Хелен.
271
Curtis, Restless Ambition, 147; Myers, Tracking the Marvelous, 44. Джон Бернард Майерс утверждал, что Грейс и Джоан были одними из художниц, «которых приняли как художников без каких-либо ссылок на их пол… И Джоан Митчелл, и Грейс Хартиган, и как минимум еще с десяток талантливых женщин, сочли, что в это время можно привлечь к себе серьезное внимание. И я думаю, их творчество очень мощно способствовало великому изобилию и разнообразию искусства».
272
James Thrall Soby, “Interview with Grace Hartigan”, 26.
273
Grace Hartigan to James Thrall Soby, September 26, 1957, The Creeks to New Canaan, Connecticut, James Thrall Soby Papers, I.121, MOMA.
274
Bert Glinn, “New York’s Spreading Upper Bohemia”, 49.
275
Albers, Joan Mitchell, 244; Grace Hartigan to Helen Frankenthaler, June 1957, Creeks to West End Avenue, Helen Frankenthaler Papers, HFF.
276
Sandler, “Mitchell Paints a Picture”, 44.
277
Sandler, “Mitchell Paints a Picture”, 45.
278
Albers, Joan Mitchell, 250.
279
Kleeblatt, Action/Abstraction, 30. В 1958 году шимпанзе, рисующий абстрактное полотно, будет увековечен на обложке журнала Mad.
280
Sandler, “Mitchell Paints a Picture”, 46–47, 69.
281
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film; oral history interview with Joan Mitchell, May 21, 1965, AAA-SI.
282
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film; oral history interview with Joan Mitchell, May 21, 1965, AAA-SI.
283
Corbett, “But Here’s a Funny Story”, 48.
284
Dorothy Seiberling, “Women Artists in Ascendance”, 74–78.
285
Barbara Rose, “First-Rate Art by the Second Sex”, 80.
286
Albers, Joan Mitchell, 245.
287
Albers, Joan Mitchell, 245, 260.
288
Elderfield, “Painted on 21st Street”, 95.
289
Seiberling, “Women Artists in Ascendance”, 75.
290
Melody Davis, “The Subject of/is the Artist: The Many Cultures of Grace Hartigan”, Box 7A, Grace Hartigan Papers, Syracuse; oral history interview with Grace Hartigan, AAA-SI.
291
Myers, Tracking the Marvelous, 177–179.
292
Exhibition material, Box 36, Grace Hartigan Papers, Syracuse.
293
Oral history interview with Larry Aldrich, April 25—June 10, 1972, AAA-SI.
294
Myers, Tracking the Marvelous, 155.
295
Oral history interview with Larry Aldrich, AAA-SI.
296
LeSueur, Digressions on Some Poems by Frank O’Hara, 150–151.
297
LeSueur, Digressions on Some Poems by Frank O’Hara, 151.
298
LeSueur, Digressions on Some Poems by Frank O’Hara, 150.
299
LeSueur, Digressions on Some Poems by Frank O’Hara.
300
LeSueur, Digressions on Some Poems by Frank O’Hara; Dore Ashton, interview by author.
301
Davis, “The Subject of/is the Artist”, Box 7A, Grace Hartigan Papers, Syracuse.
302
Schuyler, “Frank O’Hara: Poet Among Painters”, 45; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 133; Gooch, City Poet, 257–258.
303
Gooch, City Poet, 273; Schuyler, “Frank O’Hara: Poet Among Painters”, 45.
304
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 45–46, 88; Jachec, The Philosophy and Politics of Abstract Expressionism, 190, 211; Lynes, Good Old Modern, 384. В 1953 году Нельсон Рокфеллер помог перевести деньги из семейного фонда на пятилетний грант для организации Программы международных циркулирующих выставок в Музее современного искусства. Некоторые авторы считали его участие в создании этой программы одним из движущих факторов в помощи властей этому музею. Рокфеллер возглавлял Управление по межамериканским делам, боролся с фашизмом в Латинской Америке и был специальным помощником президента Дуайта Эйзенхауэра по разработке стратегии ведения холодной войны.
305
Schuyler, “Frank O’Hara: Poet Among Painters”, 45.
306
Schuyler, “Frank O’Hara: Poet Among Painters”, 45.
307
Gooch, City Poet, 294.
308
Gooch, City Poet; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 88, 133; Charlotte Dyer to Porter McCray, memo, July 8, 1957, International Council and International Program Records, I.A.3024, MOMA.
309
Mattison, Grace Hartigan, 42.
310
Mattison, Grace Hartigan; Gaines, Philistines at the Hedgerow, 135.
311
Harrison, “East Hampton Avant-Garde”, 14; Harrison and Denne, Hamptons Bohemia, 100; Gaines, Philistines at the Hedgerow, 138.
312
Harrison, “East Hampton Avant-Garde”, 14. Через три года Брейдеры закрыли свой книжный магазин и галерею и вернулись в город. Это привело к большой дыре в календаре летних выставок в то время, когда на острове собралось не менее двух третей художников нью-йоркской школы и множество коллекционеров.
313
Oral history interview with Harold Rosenberg, AAA-SI; Harrison, “East Hampton Avant-Garde”, 14, 15, 17, 20–22. Грейс выставлялась в «Сигне» в 1957, 1958 и 1959 годах; Ли — в 1957, 1958, 1959 и 1960 годах; Элен и Джоан — в 1958 году.
314
Rivers, What Did I Do?, 302.
315
Natalie Edgar, interview by author, October 20, 2014.
316
Natalie Edgar, interview by author, October 20, 2014.
317
Natalie Edgar, interview by author, October 20, 2014; Rivers, What Did I Do?, 302.
318
Curtis, Restless Ambition, 156.
319
Rivers, What Did I Do?, 302.
320
Gaines, Philistines at the Hedgerow, 135.
321
Gooch, City Poet, 283–284; Lurie, V. R. Lang, 69.
322
Gooch, City Poet, 288; Allen, The Collected Poems of Frank O’Hara, 258.
323
Gooch, City Poet, 288, 290.
324
Gooch, City Poet, 296.
325
Allen, The Collected Poems of Frank O’Hara, 214.
326
Gooch, City Poet, 297.
327
LeSueur, Digressions on Some Poems by Frank O’Hara, 105.
328
Gooch, City Poet, 297.
329
Gooch, City Poet, 297.
330
Gooch, City Poet.
331
Gooch, City Poet.
332
Summer of ’57, videotape courtesy LTV, Inc.
333
Potter, To a Violent Grave, 264; Richard Howard, Paper Trail, 226; Dore Ashton, interview by author; John Lee Post, interview by author.
334
Levin, Lee Krasner, 339; Levin, “Extraordinary Interventions of Alfonso Ossorio”, 15; Ruby Jackson, interview by author.
335
Levin, Lee Krasner, 339; Levin, “Extraordinary Interventions of Alfonso Ossorio”, 9.
336
Daw, “Lee Krasner, on Climbing a Mountain of Porcelain”, Series 2.4, Box 10, Folder 9, Lee Krasner Papers, AAA-SI, 27.
337
Wallach, “Lee Krasner’s Triumph”, 501.
338
Oral history interview with Lee Krasner, November 2, 1964—April 11, 1968, AAA-SI.
339
Oral history interview with Lee Krasner, November 2, 1964—April 11, 1968, AAA-SI.
340
Lee Krasner, interview by Barbara Cavaliere, AAA-SI, 25; oral history interview with Lee Krasner, November 2, 1964—April 11, 1968, AAA-SI.
341
Hobbs, Lee Krasner (1999), 15; Lee Krasner, a Conversation with Hermine Freed, videotape courtesy PKHSC; Summer of ’57, videotape courtesy LTV, Inc.
342
Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC.
343
Hobbs, Lee Krasner (1993), 66.
344
Landau, Lee Krasner: A Catalogue Raisonné, 165; Rose, Lee Krasner, 114, 157; Hobbs, Lee Krasner (1993), 67.
345
Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC; Lee Krasner, interview by Emily Wasserman, AAA-SI, 10.
346
Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC.
347
“Conversation between Lee Krasner and Richard Howard, Lee Krasner Paintings, 1959–1962”, The Pace Gallery, February 3—March 10, 1979.
348
Landau, Lee Krasner: A Catalogue Raisonné, 163.
349
Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC.
350
Harrison, “East Hampton Avant-Garde”, 10.
351
Summer of ’57, videotape courtesy LTV, Inc.
352
Harrison, “East Hampton Avant-Garde”, 9; Ernestine Lassaw, interview by author.
353
Harrison, “East Hampton Avant-Garde”, 9.
354
Summer of ’57, videotape courtesy LTV, Inc.; Harrison, “East Hampton Avant-Garde”, 10.
355
Rivers, What Did I Do?, 323.
356
Halberstam, The Fifties, 645.
357
Helen Harrison, telephone interview by author; Gruen, The Party’s Over Now, 40. Художница Джейн Уилсон тоже участвовала в этом шоу и выиграла тысячу долларов и пожизненную поставку сигарет «Кент».
358
Rivers, What Did I Do?, 323–324; Helen Frankenthaler to Sonya Gutman, n.d. [ca. June 1957], Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 4; Helen Frankenthaler to Sonya Gutman, May 18, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton; Frank O’Hara to Barbara Guest, May 27, 1957, New York to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; Helen Frankenthaler to Barbara Guest, June 10, 1957, West End Avenue to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
359
Rivers, What Did I Do?, 323; Frank O’Hara to Barbara Guest, May 27, 1957, New York to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; “The $64,000 Challenge”, warholstars.org/abstractexpressionists/larryrivers.html.
360
Larry Rivers, interview by John Gruen, AAA-SI, 20.
361
Rivers, What Did I Do?, 325.
362
Gooch, City Poet, 298–299; Rivers, What Did I Do?, 325; Larry Rivers with Carol Brightman, “The Cedar Bar”, 40.
363
Summer of ’57, videotape courtesy LTV, Inc.
364
Harrison, Larry Rivers, 73; oral history interview with Larry Rivers, AAA-SI.
365
Summer of ’57, videotape courtesy LTV, Inc.; Harrison and Denne, Hamptons Bohemia, 100.
366
Natalie Edgar, e-mail to author, April 26, 2016; Summer of ’57, videotape courtesy LTV, Inc.; Harrison and Denne, Hamptons Bohemia, 100.
367
Natalie Edgar, e-mail to author; Summer of ’57, videotape courtesy LTV, Inc.
368
Natalie Edgar, e-mail to author; Summer of ’57, videotape courtesy LTV, Inc.
369
Summer of ’57, videotape courtesy LTV, Inc.
370
Summer of ’57, videotape courtesy LTV, Inc.
371
Landau et al., Mercedes Matter, 76n116; Miller and Nowak, The Fifties, 89; Summer of ’57, videotape courtesy LTV, Inc.
372
Rivers, What Did I Do?, 466.
373
Rose, The Norton Book of Women’s Lives, 69.
374
Elaine de Kooning, interview by Arthur Tobier, 21.
375
Myers, The Poets of the New York School, 14; Kaplan, 1959, 208; Rivers, What Did I Do?, 342–143; LeSueur, Digressions, 194.
376
Wakefield, New York in the Fifties, 310; Kaplan, 1959, 208; Magee, “Tribes of New York”, 704, 713; Wakefield, New York in the Fifties, 307–308.
377
Kaplan, 1959, 207–208; Rivers, What Did I Do?, 342; Magee, “Tribes of New York”, 713.
378
Rivers, What Did I Do?, 342; Kaplan, 1959, 208.
379
Magee, “Tribes of New York”, 704n11, 713–714; Wakefield, New York in the Fifties, 310.
380
Magee, “Tribes of New York”, 704.
381
Wakefield, New York in the Fifties, 310.
382
Kaplan, 1959, 207–208; Wakefield, New York in the Fifties, 307; Rivers, What Did I Do?, 342; Magee, “Tribes of New York”, 713.
383
Halberstam, The Fifties, 678–687; Stone, The Haunted Fifties, 111; Brogan, The Penguin History of the United States, 626.
384
LeSueur, Digressions on Some Poems by Frank O’Hara, 194; Donald Clarke, Wishing on the Moon, 403–404.
385
LeSueur, Digressions on Some Poems by Frank O’Hara, 194.
386
LeSueur, Digressions on Some Poems by Frank O’Hara, 193; Wakefield, New York in the Fifties, 314–315; Gooch, City Poet, 327.
387
Magee, “Tribes of New York”, 710; LeSueur, Digressions on Some Poems by Frank O’Hara, 195.
388
Elaine de Kooning, interview by Arthur Tobier, 21.
389
Clarke, Wishing on the Moon, 411.
390
Wakefield, New York in the Fifties, 311.
391
Hall, Elaine and Bill, 178.
392
Gruen, The Party’s Over Now, 219; oral history interview with John Chamberlain, AAA-SI.
393
Hall, Elaine and Bill, 178.
394
Hall, Elaine and Bill, 193–194; Doris Aach, interview by author; “Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 13.
395
Doris Aach, interview by author.
396
Doris Aach, interview by author; Maud Fried Goodnight, telephone interview by author; Stephen Chinlund, interview by author.
397
Hall, Elaine and Bill, 194.
398
Clay Fried, interview by author.
399
Sandler, A Sweeper Up After Artists, 190.
400
Stevens and Swan, De Kooning, 398–400.
401
Ibram and Ernestine Lassaw, interviews for article on Willem de Kooning, Charlotte Willard Papers, 1939–1970, AAA-SI.
402
Elaine and Willem de Kooning records, 1957, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI. Ежемесячная сумма чеков, передаваемых Биллом Элен в 1957 году, в среднем составляла 250 долларов. Джоан Уорд он с января 1957 года по январь 1958 года в общей сложности дал 4510 долларов.
403
Liquor store receipts, 1957, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI. В 1957 году Билл собрал около пятидесяти чеков из винного магазина на Десятой улице за джин и разные сорта виски, и это несмотря на то, что он практически все вечера проводил в баре.
404
Ibram and Ernestine Lassaw, interviews for article on Willem de Kooning, Charlotte Willard Papers, 1939–1970, AAA-SI; Lily Loew to Michael Loew, Spring 1957, Folder 3, Michael Loew Papers, 1930–1997, AAA-SI; Neil Weiss to Michael Loew, May 21, 1957, Folder 3, Michael Loew Papers, 1930–1997, AAA-SI; Dore Ashton, interview by author; Stevens and Swan, De Kooning, 505.
405
Dore Ashton, interview by author.
406
Dore Ashton, interview by author.
407
Stevens and Swan, De Kooning, 400–402, 405.
408
Elaine de Kooning, interview by Molly Barnes, 18.
409
Ad Reinhardt, “Twelve Rules for a New Academy”, 37–38, 56.
410
“Ad Reinhardt, Abstract Painting”, www.guggenheim.org/artwork/3698; Phyllis D. Rosenzweig, The Fifties, Aspects of Painting in New York, 24.
411
Reinhardt, “Twelve Rules for a New Academy”, 37–38, 56.
412
Campbell, “Elaine de Kooning Paints a Picture”, 45.
413
“Month in Review”, Arts 30, no. 9 (June 1956): 51; “Reviews and Previews”, ArtNews 55, no. 3 (May 1956): 51.
414
Elaine de Kooning to Eleanor Ward, n.d. [ca. 1957], Series 1, Box 1, Reel 5821, Stable Gallery Records, 1916–1999, bulk 1953–1970, AAA-SI.
415
Elaine de Kooning to Eleanor Ward, n.d. [ca. 1957], Series 1, Box 1, Reel 5821, Stable Gallery Records, 1916–1999, bulk 1953–1970, AAA-SI.
416
Irving Sandler, interview by author; Sandler, A Sweeper Up After Artists, 226–227.
417
Stahr, “The Social Relations of Abstract Expressionism”, 220; Ashton, The Life and Times of the New York School, 212.
418
Elaine de Kooning, C. F. S. Hancock Lecture, 4.
419
Helen Harrison, telephone interview by author; Natalie Edgar, interview by author, October 20, 2014.
420
Hall, Elaine and Bill, 224; Elaine de Kooning Lecture, C. F. S. Hancock Lecture, 4.
421
Bledsoe, E de K, 113.
422
“Reviews and Previews”, ArtNews 56, no. 7 (November 1957): 12.
423
Helen Frankenthaler to Sonya Gutman, February 15, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
424
LeSueur, Digressions on Some Poems by Frank O’Hara, 123.
425
Helen Frankenthaler to Sonya Gutman, February 15, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 1–2.
426
LeSueur, Digressions on Some Poems by Frank O’Hara, 123.
427
Allen, The Collected Poems of Frank O’Hara, 265, 267.
428
Helen Frankenthaler to Sonya Gutman, February 15, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
429
Helen Frankenthaler to Sonya Gutman, October 9, 1956, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Helen Frankenthaler to Sonya Gutman, n.d. [ca. June, 1957], Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 3; Helen Frankenthaler to Sonya Gutman, May 18, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 1; Helen Frankenthaler to Sonya Gutman, February 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 2.
430
Helen Frankenthaler to Sonya Gutman, October 30, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1–2; Helen Frankenthaler to Sonya Gutman, November 24, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton; Helen Frankenthaler to Sonya Gutman, October 9, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 2; Helen Frankenthaler to Sonya Gutman, May 18, 1957, Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
431
Oral history interview with Helen Frankenthaler, AAA-SI.
432
John Bernard Myers to Helen Frankenthaler, June 14, 1957, Southampton to West End Avenue, Helen Frankenthaler Papers, HFF.
433
Elderfield, “Painted on 21st Street”, 92–96.
434
Frank O’Hara to Barbara Guest, May 27, 1957, New York to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
435
Barbara Guest, Diaries, 1953, 1955, 1956, Box 26, Uncat ZA MS 271, Barbara Guest Papers, Yale; Frank O’Hara to Barbara Guest, July 20, 1956, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
436
Helen Frankenthaler to Sonya Gutman, n.d. [ca. June 1957], Box 1, Folder 9, Sonya Rudikoff Papers, 1935–2000, Princeton, 4; Frank O’Hara to Helen Frankenthaler, April 8, 1957, Donald Allen Collection of Frank O’Hara Letters, UConn; LeSueur, Digressions on Some Poems by Frank O’Hara, 128.
437
Helen Frankenthaler to Barbara Guest, June 3, 1957, East Hampton to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; Gooch, City Poet, 299.
438
Helen Frankenthaler to Barbara Guest, June 3, 1957, East Hampton to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
439
Prioleau, Seductress, 161.
440
Helen Frankenthaler to Barbara Guest, June 3, 1957, East Hampton to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
441
Helen Frankenthaler to Grace Hartigan, June 4, 1957, Box 12, Grace Hartigan Papers, Syracuse.
442
Grace Hartigan to Helen Frankenthaler, Monday, June 10, 1957, Helen Frankenthaler Papers, HFF.
443
Helen Frankenthaler to Barbara Guest, June 3, 1957, East Hampton to Yaddo Artists Colony, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
444
Miz Hofmann to Helen Frankenthaler, May 23, 1957, Helen Frankenthaler Papers, HFF; oral history interview with Helen Frankenthaler, AAA-SI.
445
Oral history interview with Helen Frankenthaler, AAA-SI; E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
446
Hobbs, Lee Krasner (1999), 15.
447
Hobbs, Lee Krasner (1999), 15.
448
Oral history interview with Helen Frankenthaler, AAA-SI.
449
Helen Frankenthaler, interview by Barbara Rose, GRI; Myers, Tracking the Marvelous, 199; Rivers, What Did I Do?, 376.
450
“Reginald Pollack Painting”, reginaldpollackpainting.com.
451
Myers, Tracking the Marvelous, 199; Helen Frankenthaler, interview by Barbara Rose, GRI. Возможно, Хелен познакомилась с ним через Ганса, который дружил с братом Реджи Лу, владельцем галереи «Перидот».
452
Helen Frankenthaler to Grace Hartigan, October 12, 1957, Box 12, Grace Hartigan Papers, Syracuse.
453
Mattison, Grace Hartigan, 42; Grace Hartigan to James Thrall Soby, September 26, 1957, The Creeks to New Canaan, Connecticut, JTS, I.121, MOMA.
454
Mattison, Grace Hartigan, 43.
455
Soby, “Interview with Grace Hartigan”, 26.
456
Soby, “Interview with Grace Hartigan”, 26.
457
Curtis, Restless Ambition, 158–160; Rivers, What Did I Do?, 302; Mattison, Grace Hartigan, 42–43.
458
Curtis, Restless Ambition, 158–160.
459
Rivers, What Did I Do?, 300; Curtis, Restless Ambition, 159; Summer of ’57, videotape courtesy LTV, Inc.; Harrison and Denne, Hamptons Bohemia, 99–100.
460
Curtis, Restless Ambition, 160.
461
Natalie Edgar, interview by author, January 20, 2014, New York; Grace Hartigan to Helen Frankenthaler, postcard, November 1, 1957, Helen Frankenthaler Papers, HFF; Rivers, What Did I Do?, 300–302.
462
Rivers, What Did I Do?, 302.
463
Rivers, What Did I Do?, 302.
464
Belasco, “Between the Waves”, 181n65.
465
Helen Frankenthaler to Grace Hartigan, October 12, 1957, Box 12, Grace Hartigan Papers, Syracuse.
466
Oral history interview with Helen Frankenthaler, AAA; Helen Frankenthaler, interview by Barbara Rose, GRI.
467
Flam et al., Robert Motherwell, 205–206, 209.
468
Oral history interview with Helen Frankenthaler, AAA-SI; Helen Frankenthaler, interview by Barbara Rose, GRI.
469
Flam et al., Robert Motherwell, 201, 204, 206.
470
Jeannie Motherwell, telephone interview by author, August 12, 2014.
471
Lise Motherwell, telephone interview by author.
472
Helen Frankenthaler to Sonya Gutman, November 20, 1950, Box 1, Folder 2, Sonya Rudikoff Papers, 1935–2000, Princeton, 1; oral history interview with Helen Frankenthaler, AAA-SI.
473
Helen Frankenthaler to Sonya Gutman, February 12, 1954, Box 1, Folder 6, Sonya Rudikoff Papers, 1935–2000, Princeton, 1–2.
474
Van Horne, A Complicated Marriage, 18.
475
Leo Castelli, interview by Dodie Kazanjian, AAA-SI, 1; Leo Castelli, interview by Mitch Tuchman, AAA-SI, 1.
476
“Exhibition History, 1957”, www.castelligallery.com/history/4e77.html.
477
Helen Frankenthaler, interview by Barbara Rose, GRI.
478
Myers, Tracking the Marvelous, 199.
479
Helen Frankenthaler, interview by Barbara Rose, GRI.
480
Oral history interview with Helen Frankenthaler, AAA-SI.
481
Lise Motherwell, telephone interview by author.
482
Jeannie Motherwell, telephone interview by author, August 12, 2014.
483
“Twelve Americans Show”, Dorothy C. Miller, II.A.3, MOMA.
484
“The Year’s Best 1955”, ArtNews 54, no. 9 (January 1956): 40; Albers, Joan Mitchell, 260.
485
Albers, Joan Mitchell, 253–254; Joan Mitchell to Mike Goldberg, n.d. [ca. 1957], Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
486
Albers, Joan Mitchell, 253.
487
Albers, Joan Mitchell, 253–254.
488
Joan Mitchell to Mike Goldberg, n.d. [ca. 1957], Paris to New York, Michael Goldberg Papers, 1942–1981, AAA-SI.
489
De Billy, Riopelle, 125; Albers, Joan Mitchell, 258.
490
De Billy, Riopelle, 125.
491
Kaplan, 1959, 196.
492
De Billy, Riopelle, 125.
493
Albers, Joan Mitchell, 258.
494
Albers, Joan Mitchell, 254.
495
De Billy, Riopelle, 133.
496
De Billy, Riopelle; Albers, Joan Mitchell, 255, 258; Frank O’Hara to Mike Goldberg, August 26, 1957; 1:103, Allen Collection of Frank O’Hara Letters, UConn.
497
Joan Mitchell to Mike Goldberg, n.d., Grand Hotel du Mont Blanc, Paris, to New York, Michael Goldberg Papers, 1942–1981, AAA-SI; Albers, Joan Mitchell, 257; Paul Jenkins to Esther Jenkins, December 13, 1957, Paul Jenkins Papers, 1932–2009, AAA-SI.
498
Joan Mitchell to Paul Jenkins, n.d. [ca. 1958], Paul Jenkins Papers, 1932–2009, AAA-SI.
499
De Billy, Riopelle, 134.
500
De Billy, Riopelle, 134.
501
Joan Mitchell to Paul Jenkins, n.d. [ca. 1959], Paul Jenkins Papers, 1932–2009, AAA-SI.
502
Ken Jordan, “Interview with Barney Rosset”; Miller and Nowak, The Fifties, 383. Авторы называли Evergreen Review «самым долгосрочным периодическим изданием, писавшим об авангардистах».
503
John Clellon Holmes, “This Is the Beat Generation”, http://www.nytimes.com/1952/11/16/archives/this-is-the-beat-generation-despite-its-excesses-a-contemporary.html; Kaplan, 1959, 27–28. Представители бит-поколения стали «битниками» после того, когда один обозреватель из Сан-Франциско сказал, что они ушли от остальных так же далеко, как спутник.
504
Jordan, “Interview with Barney Rosset”.
505
Jordan, “Interview with Barney Rosset”.
506
Bram, Eminent Outlaws, 34; Jordan, “Interview with Barney Rosset”.
507
Albers, Joan Mitchell, 259–160; Joan Mitchell to Mike Goldberg, n.d., Michael Goldberg Papers, 1942–1981, AAA-SI.
508
Frank O’Hara to Gregory Corso, March 20, 1958, Allen Collection of Frank O’Hara Letters. UConn; Bram, Eminent Outlaws, 36.
509
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI; Matthew Nilsson, “The Beat Hotel: American Writers in Paris, 1957–1963”, Literary Traveler, https://www.literarytraveler.com/hotels/the-beat-hotel-american-writers-in-paris-1957-1963/.
510
Jordan, “Interview with Barney Rosset”.
511
Gooch, City Poet, 318–319; Joan Mitchell to Mike Goldberg, n.d., Michael Goldberg Papers, 1942–1981, AAA-SI.
512
Gooch, City Poet, 203.
513
Albers, Joan Mitchell, 259–260.
514
David Savram, Taking It Like a Man, 44.
515
Joan Mitchell to Barney Rosset, dated February 13, 1967, postmarked February 14, 1967, Paris to New York, JMFA003, JMF; Joan Mitchell to Barney Rosset, postmarked October 2, 1969, Paris to New York, JMFA003, JMF; Richard Milazzo, “Barney and Joan”, Evergreen Review 104 (January 2001): n.p.
516
Marion Stroebel to Joan Mitchell, dated September 25, 1955, Chicago to Paris, JMFA001, JMF; Marion Stroebel to Joan Mitchell, dated October 26, 1957, Chicago to Paris, JMFA001, JMF; Albers, Joan Mitchell, 255. Джоан также получала четыреста долларов в месяц от матери и зарабатывала продажей своих картин.
517
“Joan Mitchell”, transcript Barney/Sandy Interview, January 21, 2004, Barney Rosset Papers, Tape 5, Side 1, Series II, Box 3, Folder 5, Columbia.
518
Albers, Joan Mitchell, 261.
519
Albers, Joan Mitchell, 244, 260–261.
520
Ashton, The Life and Times of the New York School, 212; Perl, New Art City, 355.
521
Kaplan, 1959, 174.
522
Leo Castelli, interview by Mitch Tuchman, AAA-SI, 3–4.
523
Leo Castelli, interview by Dodie Kazanjian, AAA-SI, 5; Leo Castelli, interview by Mitch Tuchman, AAA-SI, 4–5.
524
Oral history interview with Leo Castelli, AAA-SI.
525
Perl, New Art City, 355; Marquis, The Art Biz, 220, 273. Первая выставка Джонса в Музее современного искусства состоялась в 1958 году. «Всё, кроме одной работы, было продано музейным благотворителям», — написал Маркиз.
526
Rubenfeld, Clement Greenberg, 211.
527
Grigor, Shattering Boundaries, film; Milton Resnick, interview by Jack Taylor.
528
Diggins, The Proud Decades, 312; Halberstam, The Fifties, 624, 627.
529
Brogan, The Penguin History of the United States, 612; Фридан, Загадка женственности, 26; Riley, Inventing the American Woman, 241; Diggins, The Proud Decades, 136, 312; Miller and Nowak, The Fifties, 65, 138. Миллер и Новак пишут, что продажа транквилизаторов выросла почти с нуля в 1954 году до 1,2 миллиона фунтов таблеток на сумму 4,75 миллиона долларов в 1959 году. Фридан утверждает, что домохозяйки из пригородов глотали их целыми бутылками, «словно микстуру от кашля».
530
Halberstam, The Fifties, 625.
531
Diggins, The Proud Decades, 135, 314; Arendt, The Human Condition, 1, 3.
532
Sandler, A Sweeper Up After Artists, 231–232.
533
John Bernard Myers to Helen Frankenthaler, August 27, 1957, Helen Frankenthaler Papers, HFF.
534
Ashton, The Life and Times of the New York School, 212–213; Thomas B. Hess, “Younger Artists and the Unforgivable Crime”, 46.
535
Perl, New Art City, 355.
536
Barrett, Irrational Man, 11, 269–270; Джордж Макнейл в интервью Джеку Тейлору сказал: «Это было популярное искусство, потому что его легко было понять».
537
Miller and Nowak, The Fifties, 128, 257, 347–349.
538
Miller and Nowak, The Fifties, 128, 257, 347–349.
539
Kleeblatt, Action/Abstraction, 30; Ibram Lassaw, interview by Jack Taylor. Ибрам говорил, что «всплеск» поп-культуры был быстрым и мощным. «В ней было что-то на редкость расчетливое… Казалось, многие из этих художников чрезвычайно сильно связаны с рынком, продажами, продвижением… Некоторые даже нанимали рекламистов». Что касается того, что стиль «поп» был клубом «для мальчиков», то это верно; единственным заметным исключением в Нью-Йорке в 1960-х годах была Розалин Дрекслер.
540
Elizabeth C. Baker, “Hans Hofmann, Abstract-Expressionism and Color in New York”, 110; Goodman, Hans Hofmann, 73.
541
Baker, “Hans Hofmann, Abstract-Expressionism and Color in New York”, 108–109, 110.
542
Rosenberg, The Anxious Object, 147; Tom Wolfe, The Painted Word, 74.
543
Miller and Nowak, The Fifties, 393.
544
Szarkowski and Elderfield, The Museum of Modern Art at MidCentury, 45, 86.
545
Rich, “Freedom of the Brush”, 50; Ashton, The New York School: A Cultural Reckoning, 207; Szarkowski and Elderfield, The Museum of Modern Art at MidCentury, 93.
546
“A New York Museum is Stealing the Honors from the United States Government in selling America’s Boldest Abstract Art Abroad”, February 25, 1959, United Press International, I.4.g., New American Painting, International Council Program, MOMA; Bernstein, Towards a New Past, 344, 356; Jachec, The Philosophy and Politics of Abstract Expressionism, 190, 211; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 46. «Британское правительство отправляет самое передовое искусство страны за границу при спонсорстве властей; так же поступают и французы, — объясняла тогда Дороти Миллер журналисту. — А наше правительство одно из немногих в мире, которое для этого слишком робкое… А мы считаем, что делать это необходимо. И потому выполняем эту работу вместо них».
547
The New American Painting, 52; Lynes, Good Old Modern, 387; Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 87.
548
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 86.
549
The New American Painting, 52.
550
“New American Painting”, I.A.727, IC/IP, I.A.3024, MOMA.
551
Memo Porter McCray to lenders, April 4, 1958, IC/IP, I.A.3024, MOMA.
552
Die Weltwoche, “May 9, 1958, New American Painting”, IC/IP I.A.3024, MOMA; Memo Porter McCray to lenders, April 4, 1958, IC/IP, I.A.3024, MOMA.
553
Letter from Monroe Wheeler on fire at the Modern, June 4, 1958, Monroe Wheeler Papers, I.18, MOMA.
554
159,11 литра. Прим. ред.
555
Letter from Monroe Wheeler on fire at the Modern, June 4, 1958, Monroe Wheeler Papers, I.18, MOMA; Lynes, Good Old Modern, 359–360, 363, 365.
556
Lynes, Good Old Modern, 365, 367, 368; oral history interview with Margaret Scolari Barr, AAA-SI.
557
Letter from Monroe Wheeler on fire at the Modern, June 4, 1958, Monroe Wheeler Papers, I.18, MOMA; Lynes, Good Old Modern, 367–368.
558
Lynes, Good Old Modern, 368, 374.
559
Die Weltwoche, May 9, 1958, “1958 New American Painting”, IC/IP I.A.3024, MOMA.
560
Mademoiselle Magazine Merit Award, Box 18, Grace Hartigan Papers, Syracuse.
561
“The ‘Rawness,’ the Vast”, Newsweek, May 11, 1959, 113–14; “Human Image in Abstraction”, Time 72 (August 11, 1958): 48.
562
Allen Barber, “Making Some Marks”, 51.
563
Grace Hartigan to Helen Frankenthaler, postcard, November 6, 1957, East Hampton, Long Island, to West End Avenue, New York, Helen Frankenthaler Papers, HFF.
564
Rex Stevens, interview by author.
565
Oral history interview with Audrey Flack, AAA-SI; Jane Freilicher, interview by author; LeSueur, Digressions on Some Poems by Frank O’Hara, 151.
566
Jane Freilicher, interview by author.
567
Rex Stevens, interview by author.
568
Dore Ashton, interview by author; Jane Freilicher, interview by author; Rex Stevens, interview by author; LeSueur, Digressions on Some Poems by Frank O’Hara, 151.
569
Mary Abbott to Grace Hartigan, 1956, Grenoble to New York, Box 8, Grace Hartigan Papers, Syracuse.
570
“Grace Hartigan, Painting from Popular Culture, Three Decades”, Susquehanna Art Museum.
571
Mary Abbott to Grace Hartigan, February 4, 1958, Box 8, Grace Hartigan Papers, Syracuse.
572
Prioleau, Seductress, 169.
573
Mary Abbott to Grace Hartigan, February 4, 1958, Box 8, Grace Hartigan Papers, Syracuse.
574
Grace Hartigan to Helen Frankenthaler, July 14, 1958, Helen Frankenthaler Papers, HFF.
575
Rosen, Popcorn Venus, 270–271; Haskell, From Reverence to Rape, 4–5; Ruddick and Daniels, Working It Out, 288, 305; Halberstam, The Fifties, 162–163, 579–580; Rose, The Norton Book of Women’s Lives, 433; Фридан, Загадка женственности, 38. В 1959 году Фридан отмечала, что ни в одной статье, опубликованной в трех главных женских журналах и посвященной женщинам, не было героини, которая серьезно занималась бы какой-либо профессиональной деятельностью; все они были домохозяйками. Женщину, делающую карьеру, считали «взвинченной», мужеподобной и сексуально непривлекательной для своего мужа. И большинство современных женщин услышали этот месседж. В тот период в американских вузах училось меньше женщин, чем в 1920-х годах. Более двух миллионов женщин присоединились к рабочей силе страны, но треть из них работали секретаршами. Джойс Джонсон писал, что каждый день на Манхэттене можно было видеть эту покорную армию с бутербродом с салатом и яйцом в сумочке и «горячим» бестселлером Пейтон Плейс в руке, марширующих к Мэдисон-авеню, где они работали, прежде чем окончательно обосноваться в жизни и заняться наконец настоящей карьерой — детьми и браком. А в фильмах «великих» женщин чаще всего изображали не от мира сего, ущербными, чрезмерно одержимыми своим делом, даже жестокими; чаще всего у такой карьеристки имелась подружка, сестра или помощница «из нормальных», выведенная как гораздо более привлекательный персонаж.
576
Rose, The Norton Book of Women’s Lives, 570; Chafe, The American Woman, 100. Маргарет Мид говорила: «У женщины есть два варианта: быть женщиной и, следовательно, менее успешной личностью, либо успешной личностью, а значит, не совсем женщиной».
577
Rose, The Norton Book of Women’s Lives, 570.
578
“Interview with Lee Krasner”, Evening Standard [London], Wednesday, September 22, 1965, Series 2, Subseries 7, Box 10, Folder 38, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 4.
579
E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
580
E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
581
Lise Motherwell, telephone interview by author; Jeannie Motherwell, telephone interview by author, July 8, 2014, and August 12, 2014.
582
Dore Ashton, interview by author; Jeannie Motherwell, telephone interview by author, August 12, 2014; Lise Motherwell, telephone interview by author.
583
Helen Frankenthaler, interview by John Gruen, AAA-SI, 21.
584
Flam et al., Robert Motherwell, 80, 82, 93.
585
Flam et al., Robert Motherwell, 93.
586
Flam et al., Robert Motherwell.
587
Helen Frankenthaler to Grace Hartigan, October 12, 1957, Box 12, Grace Hartigan Papers, Syracuse.
588
Elderfield, “Painted on 21st Street”, 96, 98.
589
Flam et al., Robert Motherwell, 93.
590
Norman Bluhm to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
591
Elderfield, “Painted on 21st Street”, 98.
592
Guest list for Helen Frankenthaler’s Wedding Shower, Box 12, Grace Hartigan Papers, Syracuse; Barbara Guest, Diary 1958, April 4 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale.
593
Barbara Guest wrote a poem for Helen as her shower gift, “A Wedding Cake for Helen”.
594
Elderfield, “Painted on 21st Street”, 98.
595
Oral history interview with Rebecca Reis, AAA-SI.
596
Oral history interview with Rebecca Reis, AAA-SI.
597
Eugene Goossen to Helen Frankenthaler, March 12, 1958, Helen Frankenthaler Papers, HFF.
598
Robert Motherwell, interview by John Gruen, AAA-SI, 5.
599
Lise Motherwell, telephone interview by author; Flam et al., Robert Motherwell, 209; Barbara Guest, Diary 1958, May 15 entry, Uncat ZA MS 271, Box 26, Barbara Guest Papers, Yale; Robert Motherwell, interview by John Gruen, AAA-SI, 6.
600
Lise Motherwell, telephone interview by author.
601
Lise Motherwell, telephone interview by author. Боб с детства боялся умереть во сне из-за серьезной астмы, которая сильнее всего проявлялась по ночам.
602
Flam et al., Robert Motherwell, 93.
603
Flam et al., Robert Motherwell, 209.
604
Flam et al., Robert Motherwell, 182, 209.
605
Flam et al., Robert Motherwell, 93, 209.
606
Flam et al., Robert Motherwell, 93, 209.
607
Flam et al., Robert Motherwell, 94, 210.
608
The New American Painting, 8–9; Миланская Corriere della Sera восприняла работу довольно негативно, написав: «Это не ново. Это вообще не живопись… В этом нет никакого духовного бегства». Но критик из газеты Il Giorno, издававшейся в том же городе, заявил, что это «удивительно».
609
The New American Painting, 9; Curtis, Restless Ambition, 166.
610
Flam et al., Robert Motherwell, 94, 210; Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
611
Flam et al., Robert Motherwell, 210.
612
Flam et al., Robert Motherwell; E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
613
Flam et al., Robert Motherwell, 210; E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
614
Flam et al., Robert Motherwell, 210.
615
Helen Frankenthaler to Barbara Guest, St. Jean de Luz, France, to Paris, June 25, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
616
Helen Frankenthaler to Becky and Bernard Reis, June 23, “Mon Eve”, Series I, Folder 11, Bernard and Rebecca Reis Papers, GRI.
617
Flam et al., Robert Motherwell, 210.
618
Robert Motherwell to Eugene Goossen, July 30, 1958, E. C. Goossen Archives, Ars Libri Ltd, www.arslibri.com/collections/GoossenArchive.pdf, 7.
619
Helen Frankenthaler to Grace Hartigan, July 8, 1958, St. Jean de Luz, France, to New York, Box 12, Grace Hartigan Papers, Syracuse.
620
Helen Frankenthaler to Grace Hartigan, July 8, 1958, St. Jean de Luz, France, to New York, Box 12, Grace Hartigan Papers, Syracuse.
621
Grace Hartigan to Helen Frankenthaler, July 14, 1958, Essex Street to St. Jean de Luz, France, Helen Frankenthaler Papers, HFF.
622
Helen Frankenthaler to Barbara Guest, St. Jean de Luz, France, to Paris, July 3, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
623
Flam et al., Robert Motherwell, 210.
624
The New American Painting, 9.
625
Helen Frankenthaler to Becky and Bernard Reis, July 16, 1958, Series I, Folder 11, Bernard and Rebecca Reis Papers, GRI.
626
Flam et al., Robert Motherwell, 210.
627
Flam et al., Robert Motherwell; Helen Frankenthaler to Barbara Guest, December 10, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
628
Jeannie Motherwell, telephone interviews by author, July 8, 2014, and August 12, 2014; Lise Motherwell, telephone interview by author.
629
Jeannie Motherwell, telephone interview by author, July 8, 2014.
630
Jeannie Motherwell, telephone interviews by author, July 8, 2014, and August 12, 2014.
631
Jeannie Motherwell, telephone interview by author, July 8, 2014.
632
Lise Motherwell, telephone interview by author; Jeannie Motherwell, telephone interview by author, July 8, 2014.
633
Jeannie Motherwell, telephone interview by author, August 12, 2014.
634
Lise Motherwell, telephone interview by author.
635
Lise Motherwell, telephone interview by author; Jeannie Motherwell, telephone interviews by author, July 8, 2014, and August 12, 2014.
636
Helen Frankenthaler to Grace Hartigan, November 30, 1961, Box 12, Grace Hartigan Papers, Syracuse.
637
Elderfield, “Painted on 21st Street”, 99.
638
Helen Frankenthaler to Barbara Guest, December 10, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
639
Myers, Tracking the Marvelous, 198; Helen Frankenthaler, interview by John Gruen, AAA-SI, 14.
640
Myers, Tracking the Marvelous, 199; John Bernard Myers to Helen Frankenthaler, June 27, 1958, Helen Frankenthaler Papers, HFF.
641
John Bernard Myers to Larry Rivers, n.d., Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 10, Folder 13, NYU.
642
Myers, Tracking the Marvelous, 198; Helen Frankenthaler, interview by John Gruen, AAA-SI, 14.
643
John Bernard Myers to Helen Frankenthaler, June 14, 1957, Helen Frankenthaler Papers, HFF.
644
Helen Frankenthaler to Sonya Gutman, Friday evening, November 24, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
645
John Bernard Myers to Helen Frankenthaler, June 14, 1957, Helen Frankenthaler Papers, HFF; Myers, Tracking the Marvelous, 155; Gruen, The Party’s Over Now, 188; Rivers, What Did I Do?, 206–207.
646
Helen Frankenthaler, interview by John Gruen, AAA-SI, 13.
647
Elderfield, “Painted on 21st Street”, 99.
648
Myers, Tracking the Marvelous, 199.
649
Gooch, City Poet, 441–442.
650
Frank O’Hara to John Ashbery, October 10, 1958, 1:136, Allen Collection of Frank O’Hara Letters, UConn.
651
John Bernard Myers to Mrs. Robert Motherwell, October 4, 1958, Helen Frankenthaler Papers, HFF.
652
Myers, Tracking the Marvelous, 199.
653
Oral history interview with André Emmerich, January 18, 1993, AAA-SI.
654
Oral history interview with André Emmerich, January 18, 1993, AAA-SI.
655
De Coppet and Jones, The Art Dealers, 62–63.
656
Myers, Tracking the Marvelous, 199.
657
Helen Frankenthaler to Barbara Guest, December 10, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
658
Helen Frankenthaler to Barbara Guest, December 10, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
659
Landau, Lee Krasner: A Catalogue Raisonné, 312.
660
Levin, Lee Krasner, 328–329.
661
Memo Charlotte Dyer to Porter McCray, July 18, 1957, IC/IP, I.A.3024, MOMA; Frank O’Hara to Lee Krasner, May 27, 1958, and October 31, 1958, IC/IP, I.A.3024, MOMA; Hobbs, Lee Krasner (1993), 71.
662
Gruen, The Party’s Over Now, 252; James T. Valliere, Lee Krasner and Jackson Pollock’s Legacy, 1. Джеймс писал, что Ли решила забрать работы Джексона из галереи Джениса, потому что Сидни не собирался выставлять ее, но сама Ли в интервью Джону Грюну утверждала (John Jonas Gruen and Jane Wilson Papers, 1952–2003, May 8, 1969, AAA-SI, 23), что просто не хотела быть частью «пакета» Поллока после ее ужасного опыта с галереей Бетти Парсонс.
663
Hobbs, Lee Krasner (1999), 15.
664
Hobbs, Lee Krasner (1999), 15.
665
Valliere, Lee Krasner and Jackson Pollock’s Legacy, 35.
666
Lee Krasner, interview by John Gruen, AAA-SI, 26–27.
667
Lee Krasner, interview by John Gruen, AAA-SI, 26–27.
668
Lee Krasner, interview by John Gruen, AAA-SI, 26–27.
669
Landau, Lee Krasner: A Catalogue Raisonné, 314.
670
Lee Krasner, interview by Barbara Cavaliere, AAA-SI, 23.
671
“Lee Krasner, at Martha Jackson Gallery”, 1958, Series 2, Subseries 8, Box 12, Folder 19, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 7.
672
“Lee Krasner, at Martha Jackson Gallery”, 1958, Series 2, Subseries 8, Box 12, Folder 19, Jackson Pollock and Lee Krasner Papers, ca. 1914–1984, AAA-SI, 9.
673
Landau, Lee Krasner: A Catalogue Raisonné, 314.
674
Landau, Lee Krasner: A Catalogue Raisonné, 314.
675
Hobbs, Lee Krasner (1999), 16.
676
Levin, Lee Krasner, 328.
677
“Krasner, Painting, Drawing and Collage”, Whitechapel Gallery, 1965, 12; Nemser, “A Conversation with Lee Krasner”, 46; Levin, Lee Krasner, 329.
678
Levin, Lee Krasner, 326; Landau, Lee Krasner: A Catalogue Raisonné, 312.
679
Friedman, Jackson Pollock: Energy Made Visible, 252, 254.
680
Levin, Lee Krasner, 327–328.
681
Frank O’Hara to Hal Fondren, July 19, 1958, 1:127, Allen Collection of Frank O’Hara Letters, UConn.
682
Ernestine Lassaw to Alice Baber, n.d. [summer 1958], Alice Baber Papers, 1934–1983, AAA-SI; Franz Schulze, “Abstract Expressionism: An Obituary”, New York Daily News, n.d., Box 1, Folder 1, Thomas B. Hess/Willem de Kooning Papers, MOMA. Как писал Шульц несколько лет спустя, та вечеринка Барни предвосхищала конец абстрактного экспрессионизма. «Для международного художественного мира начало 1960-х стало Утром После дикого разгула, который только что закончился для абстрактных экспрессионистов. Мы, американцы, организовали ее, отчасти чтобы отпраздновать победу над европейским искусством в последней великой войне, а отчасти — чтобы сбежать от ужасов XX века, которые эта война так ярко символизировала».
683
Barney Rosset Papers, MS 1543, Box 3, Folder 32, Series II, Columbia; Denise Lassaw, e-mail to author, September 6, 2016.
684
Ernestine Lassaw to Alice Baber, n.d. [summer 1958], Alice Baber Papers, 1934–1983, AAA-SI; Denise Lassaw, e-mail to author, September 6, 2016.
685
Ernestine Lassaw to Alice Baber, n.d. [summer 1958], Alice Baber Papers, 1934–1983, AAA-SI; Denise Lassaw, e-mail to author, September 6, 2016.
686
Ernestine Lassaw to Alice Baber, n.d. [summer 1958], Alice Baber Papers, 1934–1983, AAA-SI; Denise Lassaw, e-mail to author, September 6, 2016.
687
Ernestine Lassaw to Alice Baber, n.d. [summer 1958], AAA-SI; Stevens and Swan, De Kooning, 409–10.
688
Ernestine Lassaw to Alice Baber, n.d. [summer 1958], Alice Baber Papers, 1934–1983, AAA-SI; Denise Lassaw, e-mail to author, September 6, 2016.
689
Josephine Little: The Art Crowd, videotape courtesy LTV, Inc.; Denise Lassaw, e-mail to author, September 6, 2016.
690
Josephine Little: The Art Crowd, videotape courtesy LTV, Inc.
691
Denise Lassaw, e-mail to author, September 6, 2016.
692
Samuel Beckett, The Complete Dramatic Works, 262.
693
Guggenheim, Out of This Century, 358, 362.
694
Lukach, Hilla Rebay, 293; Kaplan, 1959, 157–158, 161.
695
Guggenheim, Out of This Century, 362–363.
696
Thomas B. Hess, “A Tale of Two Cities”, 39; Berman, All That Is Solid, 288, 313, 314. Берман писал: «Поскольку современная экономика обладает бесконечной способностью к переустройству и самопреобразованию, модернистское воображение также должно снова и снова переориентироваться и обновляться». В конце 1950-х Берман назвал США «миром скоростных дорог».
697
Hess, “A Tale of Two Cities”, 39; Miller and Nowak, The Fifties, 277; Wolfe, The Painted Word, 18–19. Вулф писал, что коллекционер произведений искусства в Америке достиг «полусакрального статуса» мецената. «Искусство всегда было дверью в общество», в то же время четко демонстрируя, что стоит особняком от всего буржуазного и над ним.
698
Crehnan, “Recent Attacks on Abstract Art”, 63; Ashton, The Life and Times of the New York School, 229. К тому времени только в Нью-Йорке существовало около трехсот «респектабельных» галерей разных типов. И это притом что в 1951 году их было всего тридцать.
699
Marquis, The Art Biz, 224, 238.
700
Marquis, The Art Biz, 224, 238.
701
Marquis, The Art Biz, 14, 250, 255.
702
Marquis, The Art Biz, 14; Art Barge — Artists Speak, with Elaine de Kooning, videotape courtesy LTV, Inc.
703
Sandler, A Sweeper Up After Artists, 43–44; oral history interview with Richard Bellamy, 1963, AAA-SI; Harold Rosenberg, “Tenth Street: A Geography of Modern Art”, 120–137, 184.
704
Hess and Baker, Art and Sexual Politics, 116.
705
Natalie Edgar, interview by author, January 20, 2014.
706
Oral History interview with Chuck Close, AAA-SI.
707
The New American Painting, 13.
708
The New American Painting, 13.
709
Porter McCray memo, n.d., New American Painting, IC/IP, I.A.3024, MOMA.
710
Manchester Guardian, February 27, 1959, New American Painting, IC/IP, I.A.3024, MOMA; Le Figaro, January 18, 1959, Paris, New American Painting, IC/IP, I.A.3024, MOMA; Thomas B. Hess, “Great Expectations, Part 1”, 60.
711
Curtis, Restless Ambition, 168–170.
712
Grace Hartigan to Barbara Guest, October 21, 1958, Uncat ZA MS 271, Box 14, Barbara Guest Papers, Yale.
713
“New Work by Grace Hartigan, April 28—May 30, 1959”, Tibor de Nagy, Box 37, Grace Hartigan Papers, Syracuse.
714
Joan Mitchell to Grace Hartigan, n.d. [1958], Paris to New York, Box 20, Grace Hartigan Papers, Syracuse; Gooch, City Poet, 314.
715
Gooch, City Poet, 314.
716
Gooch, City Poet, 314.
717
Gooch, City Poet, 360.
718
Curtis, Restless Ambition, 175.
719
Grace Hartigan to Dorothy Miller, September 21, 1962, Series 2, Box 3, Folders 34–35, Dorothy C. Miller Papers, ca. 1912–1992, bulk 1959–1984, AAA-SI.
720
Berkson and LeSueur, Homage to Frank O’Hara, 77; Gooch, City Poet, 314.
721
Frank O’Hara to Barbara Guest, September 14, 1958, Paris to London, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
722
The New American Painting, 14; Minutes of Museum of Modern Art Board of Trustees meeting, April 9, 1959, New American Painting, IC/IP, I.A.3024, MOMA; Sandler, Abstract Expressionism and the Modern Experience, 189.
723
Minutes of Museum of Modern Art Board of Trustees Meeting, April 9, 1959, New American Painting, IC/IP, I.A.3024, MOMA.
724
The New American Painting, 13.
725
Minutes of Museum of Modern Art Board of Trustees Meeting, April 9, 1959, New American Painting, IC/IP, I.A.3024, MOMA.
726
“New American Painting”, 1.14.f, IC/IP, I.A. 3024, MOMA.
727
Kaplan, 1959, 196.
728
David Hare, interview by Jack Taylor.
729
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 78–79; Kaplan, 1959, 175; Rose, American Painting, 87; Perl, New Art City, 419.
730
Sandler, A Sweeper Up After Artists, 241; Sandler, Abstract Expressionism and the American Experience, 199; Marquis, The Art Biz, 115.
731
Giorgio Cavallon, interview by Jack Taylor.
732
Elaine de Kooning 1958 financial records, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI; Deborah Boll, Peter Walch, and Malin Wilson, “Albuquerque ’50s”, 9–10.
733
Elaine de Kooning, interview by Molly Barnes, 14.
734
Munro, Originals, 255.
735
“Elaine de Kooning Statement”, 29.
736
Gruen, The Party’s Over Now, 220.
737
Boll et al., “Albuquerque ’50s”, 44–45.
738
Elaine de Kooning and Slivka, Elaine de Kooning, 185–186; Boll et al., “Albuquerque ’50s”, 16.
739
Lewallen, “Interview with Elaine de Kooning”, 7; Boll et al., “Albuquerque ’50s”, 16.
740
Doris Aach, interview by author, November 16, 2013; Hall, Elaine and Bill, 266.
741
Margaret Randall, telephone interview by author.
742
Margaret Randall, telephone interview by author.
743
Margaret Randall, My Town, 87–88.
744
Margaret Randall, telephone interview by author.
745
Margaret Randall, telephone interview by author; Gruen, The Party’s Over Now, 220; Randall, My Town, 92; отчет о денежных расходах Элен де Кунинг, не подтвержденных квитанциями или чеками, 1958, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI; Boll et al., “Albuquerque ’50s”, 16.
746
Отчет о денежных расходах Элен де Кунинг, не подтвержденных квитанциями или чеками, 1958, Финансовые отчеты Виллема и Элен де Кунинг, 1951–1969, AAA-SI; Elaine de Kooning, interview by Molly Barnes, 2–3.
747
Campbell, “Elaine de Kooning Paints a Picture”, 43; Elaine de Kooning, interview by Antonina Zara, 20; Lewallen, “Interview with Elaine de Kooning”, 7; Campbell, “Elaine de Kooning Paints a Picture”, 45.
748
Lewallen, “Interview with Elaine de Kooning”, 8; Elaine de Kooning Lecture, C. F. S. Hancock Lecture, 4–5; Munro, Originals, 255; Campbell, “Elaine de Kooning Paints a Picture”, 44.
749
Campbell, “Elaine de Kooning Paints a Picture”, 45; Connie Fox, interview by author.
750
Margaret Randall, telephone interview by author.
751
Connie Fox, interview by author.
752
Margaret Randall, telephone interview by author.
753
Connie Fox, interview by author.
754
“Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 15, 19, 22.
755
Персонаж одноименной фантастической новеллы В. Ирвинга, двадцать лет проспал в горах неподалеку от Нью-Йорка. Символ отставшего от времени человека. Прим. ред.
756
Gruen, The Party’s Over Now, 220.
757
Stephen Chinlund, interview by author.
758
Maud Fried Goodnight, e-mail to author, February 17, 2014; Charles Fried, telephone interview by author.
759
Johnson, The New York Schools of Music and Visual Arts, 46; Lieber, Reflections in the Studio, 121n47.
760
Elaine de Kooning, interview by Molly Barnes, 14; Maud Fried Goodnight, e-mail to author, February 17, 2014; Margaret Randall, telephone interview by author; Doris Aach, interview by author; “Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 19; Luke Luyckx, telephone interview by author; Elaine de Kooning and Slivka, Elaine de Kooning, 29. К моменту смерти Элен ее коллекция выросла до тысячи экземпляров.
761
Elaine de Kooning, interview by Molly Barnes, 16.
762
Elaine de Kooning financial statement, 1959, Elaine and Willem de Kooning financial records, 1951–1969, AAA-SI. Элен указывает адрес своей мастерской и предпочитаемый почтовый адрес как «Бродвей, 791». Она также отмечает, что прожила там год.
763
Campbell, “Elaine de Kooning Paints a Picture”, 61–62; Charles Fried, telephone interview by author; Luke Luyckx, telephone interview by author.
764
Maud Fried Goodnight, e-mail to author, February 17, 2014.
765
Campbell, “Elaine de Kooning Paints a Picture”, 62; Maud Fried Goodnight, e-mail to author, February 17, 2014.
766
Charles Fried, telephone interview by author.
767
Maud Fried Goodnight, telephone interview by author; Luke Luyckx, telephone interview by author.
768
Maud Fried Goodnight, e-mail to author.
769
“Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 13.
770
Charles Fried, telephone interview by author.
771
Maud Fried Goodnight, telephone interview by author; Dorfman, Out of the Picture, 278.
772
Doris Aach to “Jean”, August 20, 1989, East Hampton, New York, courtesy Doris Aach. В письме рассказывается о различных ораторах, выступавших у памятника Элен. Авторство данной истории приписывают Герману Черри.
773
Doris Aach, interview by author, November 16, 2013.
774
Dorfman, Out of the Picture, 278.
775
Maud Fried Goodnight, telephone interview by author.
776
Clay Fried, interview by author.
777
Luke Luyckx, telephone interview by author; “Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 13.
778
Randall, My Town, 91; Margaret Randall, telephone interview by author.
779
Clay Fried, interview by author.
780
Sherman Drexler, telephone interview by author.
781
Luke Luyckx, telephone interview by author; Stevens and Swan, De Kooning, 412.
782
Stevens and Swan, De Kooning, 412–413; oral history interview with Harold Rosenberg, AAA-SI; Ashton, The New York School, 229. Два года спустя, когда Билл, Филипп Густон и Дэвид Смит устроили вечеринку (с приглашениями), для того чтобы обеспечить порядок в очереди из восьмисот гостей, пришлось нанимать охранников агентства Pinkerton.
783
Stevens and Swan, De Kooning, 413.
784
Downes, Art in Its Own Terms, 36.
785
Edith Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 154; Tom Hess to Paul Jenkins, June 6, 1961, Paul Jenkins Papers, AAA-SI.
786
Stevens and Swan, De Kooning, 411.
787
Elaine de Kooning, interview by Arthur Tobier, 7.
788
Elaine de Kooning, interview by Arthur Tobier, 7–8.
789
Stephen Chinlund, interview by author.
790
Margaret Randall, telephone interview by author; Waldorf Panel on Sculpture, II, March 17, 1965, moderated by Philip Pavia, Tape 1, Waldorf Panel on Sculpture, February 17 and March 17, 1965, AAA-SI; Connie Fox, interview by author.
791
Elaine de Kooning, interview by Arthur Tobier, 8; Maud Fried Goodnight, e-mail to author.
792
Stephen Chinlund, interview by author.
793
Oral history interview with Alice Baber, 1973, AAA-SI; NO! Boris Lurie, David David Gallery, 12–13; KZ-KAMPF-KUNST Boris Lurie: NO!ART, 146.
794
KZ-KAMPF-KUNST Boris Lurie: NO!ART, 8.
795
KZ-KAMPF-KUNST Boris Lurie: NO!ART, 11.
796
KZ-KAMPF-KUNST Boris Lurie: NO!ART, 156–157.
797
Marquis, The Art Biz, 328.
798
Barbara Rose, “First-Rate Art by the Second Sex”, 80.
799
Elderfield, “Painted on 21st Street”, 101.
800
Nadine Brozan, “The Evening Hours”, New York Times, February 22, 1985, http://www.nytimes.com/1985/02/22/style/the-evening-hours.html.
801
“In the Galleries”, Arts Magazine 33, no. 8 (May 1959): 56; New York Herald Tribune, Sunday April 5, 1959, n.p.
802
“In the Galleries”, Arts Magazine 33, no. 8 (May 1959): 56; New York Herald Tribune, Sunday April 5, 1959, n.p.
803
“Reviews and Previews”, ArtNews, May 1959, n.p.
804
Charlotte Willard, “Women of American Art”, 75; “The Vocal Girls”, 74; “Editor’s Letters”, ArtNews 52, no. 4 (June — July — August 1953): 6; Deborah Solomon, typed notes for article “The Lyrical Mystery of Helen Frankenthaler”, courtesy Deborah Solomon, 6. Хотя статья Уиллард должна была стать для женщин-художников большим подарком, в описании ею Хелен явно сквозило предубеждение против них. Уже с пятого предложения она пишет, что Франкенталер «замужем за художником Робертом Мазервеллом и обязана своей техникой покойному Джексону Поллоку и Гансу Гофману [sic]…». Иными словами, что это не ее видение, а видение мужчин, которые ее окружают. А в статье Time, посвященной Хелен, в первом же предложении говорится, что тридцатилетняя художница является дочерью судьи и женой Боба Мазервелла. В 1953 году в задиристом письме редактору ArtNews художница Дженис Бяла обратила внимание на это явление, указав на то, что «леди-живописцы крайне редко появляются на ваших страницах в отрыве от супружеского ига. В моем собственном случае обо мне ни разу не написали в вашем журнале, не приписав мне того или иного мужа. Так вот, открою вам страшный секрет. У меня есть еще и брат!»
805
Frank O’Hara Papers for Documenta II Exhibition, IC/IP, I.A.3024, MOMA; Gooch, City Poet, 325.
806
Elderfield, “Painted on 21st Street”, 102.
807
“28 Art Awards Listed in Paris; Five Frenchmen, Three from U.S. Among Winners at First Biennial Show”, New York Times, Wednesday, October 7, 1959, 85; “After Mountains and Sea”, 93.
808
Helen Frankenthaler to Barbara Guest, October 9, 1959, New York to Washington, DC, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
809
Oral history interview with Helen Frankenthaler, AAA-SI.
810
Frank O’Hara to John Ashbery, October 13, 1959, 1:192, Allen Collection of Frank O’Hara Letters, UConn.
811
Gruen, The Party’s Over Now, 191; Ashton with Banach, The Writings of Robert Motherwell, 284.
812
Gruen, The Party’s Over Now, 193.
813
Helen Frankenthaler to Barbara Guest, November 6, 1959, New York to Washington, DC, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; Gruen, The Party’s Over Now, 195; Grace Glueck, “Helen Frankenthaler, Abstract Painter Who Shaped a Movement”, http://www.nytimes.com/2011/12/28/arts/helen-frankenthaler-abstract-painter-dies-at-83.html.
814
E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
815
Glueck, “Helen Frankenthaler, Abstract Painter Who Shaped a Movement”.
816
Jeannie Motherwell, telephone interviews by author, July 8, 2014, and August 12, 2014; Clifford Ross, interview by author, January 15, 2014.
817
Helen Frankenthaler to Barbara Guest, December 10, 1958, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale; Robert Motherwell to Eugene Goossen, July 30, 1958, The E. C. Goossen Archives, Ars Libri Ltd, www.arslibri.com/collections/GoossenArchive.pdf, 7; E.A. Carmean Jr., Oral History Interview on Helen Frankenthaler, videotape courtesy HFF.
818
Flam et al., Robert Motherwell, 101; Helen Frankenthaler, interview by John Gruen, AAA-SI, 21.
819
Oral history interview with Grace Hartigan, AAA-SI.
820
“Grace Hartigan, Palette Fresh and Brilliant”, Truro (Mass.) Post, n.d. [1982], n.p.
821
Jean Lipman, ed., The Collector in America, 23.
822
Note, Series 2, Box 3, Folders 34–35, Dorothy C. Miller Papers, ca. 1912–1992, bulk 1959–1984, AAA-SI; Marquis, The Art Biz, 170. Рокфеллер говорил, что его «вкусы в искусстве поставили под угрозу его политическую карьеру».
823
Peggy Guggenheim to Grace Hartigan, September 15, 1955, Box 13, Grace Hartigan Papers, Syracuse; John Bernard Myers to Grace Hartigan, July 10, 1959, Box 21, Grace Hartigan Papers, Syracuse; Tibor de Nagy Gallery Files, Box 28, Folder 1, AAA-SI. Peggy purchased Ireland in April 1959 for two thousand dollars.
824
Curtis, Restless Ambition, 174; Leonard Bocour to Grace Hartigan, October 30, 1962, Box 5, Grace Hartigan Papers, Syracuse.
825
Frank O’Hara to Barbara Guest, August 17, 1959, 1:181; Allen Collection of Frank O’Hara Letters, UConn; Mary Abbott to Grace Hartigan, January 15, 1959, Box 8, Grace Hartigan Papers, Syracuse.
826
Rex Stevens, interview by author; Donna Sesee, interview by author.
827
Grace Hartigan to Joan Mitchell, dated November 13 [ca. 1958], JMFA001, JMF.
828
Rivers, What Did I Do?, 319–320.
829
Gooch, City Poet, 329; Frank O’Hara to Barbara Guest, October 19, 1959, New York to Washington, Box 16, UnCat ZA MS 271, Barbara Guest Papers, Yale.
830
Grace Hartigan to Joan Mitchell, dated November 13 [ca. 1958], JMFA001, JMF.
831
Curtis, Restless Ambition, 175–176; Tibor de Nagy Gallery Files, Box 28, Folder 3, AAA-SI. Согласно записям галереи, Грейс продала через «Тибор де Надь» работ на 14 427 долларов. Остальные картины, вероятно, продавались через галерею «Грес».
832
John Bernard Myers to Grace Hartigan, August 26, 1959, Box 21, Grace Hartigan Papers, Syracuse.
833
Curtis, Restless Ambition, 176, 180.
834
Curtis, Restless Ambition, 181; Hart Perry, interview by author.
835
Notes on discussions between Grace Hartigan and Beatrice Perry, August 1959, Box 23, Grace Hartigan Papers, Syracuse.
836
Rex Stevens, interview by author.
837
Tibor de Nagy to Grace Hartigan, February 24, 1960, Tibor de Nagy Gallery Records, 1941–1993, Series 1, Subseries 5, Box 7, Folder 12, AAA-SI; Grace Hartigan to Tibor de Nagy, August 1 [ca. 1959], Tibor de Nagy Gallery Records, 1941–1993, Series 1, Subseries 5, Box 7, Folder 12, AAA-SI.
838
Rex Stevens, interview by author.
839
Mary Abbott to Grace Hartigan, April 26, 1958, Box 8, Grace Hartigan Papers, Syracuse.
840
Grace Hartigan to Joan Mitchell, November 13 [ca. 1958], JMFA001, JMF; Curtis, Restless Ambition, 173; Grace Hartigan to Helen Frankenthaler Motherwell, July 24, 1959, Helen Frankenthaler Papers, HFF.
841
Grace Hartigan to Barbara Guest, November 17, 1959, Essex Street to Washington, DC, Uncat ZA MS 271, Box 14, Barbara Guest Papers, Yale.
842
Barbara Guest to Helen Frankenthaler, July 10, 1959, Helen Frankenthaler Papers, HFF; Al Leslie to Bob Motherwell and Helen Frankenthaler, July 13, 1959, Helen Frankenthaler Papers, HFF; Grace Hartigan to Barbara Guest, November 17, 1959, Essex Street to Washington, DC, Uncat ZA MS 271, Box 14, Barbara Guest Papers, Yale; Mattison, Grace Hartigan, 50.
843
Grace Hartigan to Barbara Guest, November 17, 1959, Essex Street to Washington, DC, Uncat ZA MS 271, Box 14, Barbara Guest Papers, Yale.
844
Oral history interview with Grace Hartigan, AAA-SI; Nemser, Art Talk, 162.
845
Grace Hartigan to Barbara Guest, December 11, 1959, Essex Street to Washington, DC, Uncat ZA MS 271, Box 14, Barbara Guest Papers, Yale; oral history interview with Grace Hartigan, AAA-SI. Грейс и Мэри Эбботт пришли в головных уборах, которые Грейс назвала «дивными норковыми шляпками для свадьбы».
846
Grace Hartigan to Barbara Guest, December 11, 1959, Essex Street to Washington, DC, Uncat ZA MS 271, Box 14, Barbara Guest Papers, Yale.
847
Gooch, City Poet, 359–360.
848
Frank O’Hara to Grace Hartigan, August 20, 1959, containing typed poem “L’Amour avait passé par là”, dated August 19, 1959; Locus Solus: The New York School of Poets, April 14, 2016, https://newyorkschoolpoets.wordpress.com; Perloff, Frank O’Hara, 79–80.
849
“Reviews and Previews”, ArtNews 58, no. 8 (December 1959): 18; O’Hara, fliers for readings and exhibitions, “Hartigan and Rivers with O’Hara”, Series VIII, Kenneth Koch Papers, NYPL.
850
Lawrence Campbell, “Grace Hartigan, Larry Rivers, Frank O’Hara”, 18.
851
LeSueur, Digressions on Some Poems by Frank O’Hara, 208.
852
De Billy, Riopelle, 141.
853
Livingston, The Paintings of Joan Mitchell, 40; John Ashbery, “An Expressionist in Paris”, 44.
854
Bernstock, Joan Mitchell, 181.
855
Joan Mitchell to Mike Goldberg, n.d., Michael Goldberg Papers, 1942–1981, AAA-SI.
856
Marion Strobel to Joan Mitchell, June 9, 1954, Chicago to New York, JMFA001, JMF; Albers, Joan Mitchell, 264.
857
Joan Mitchell to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
858
Suzanne D. Jenkins, interview by author.
859
Джоан Митчелл заплатила 45 тысяч франков с 15 января 1959 года до 1 апреля 1959 года, а затем еще 180 тысяч франков через год; документы на аренду помещения по адресу ул. Фремикур, 10, JMFA001, Joan Mitchell Papers, JMF; de Billy, Riopelle, 140; Albers, Joan Mitchell, 273–274, 277.
860
Joan Mitchell to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
861
De Billy, Riopelle, 140; Albers, Joan Mitchell, 273–274. Купить это помещение Джоан помогли отец и Жан-Поль.
862
Albers, Joan Mitchell, 264–265, 271.
863
Jean-Paul Riopelle to Joan Mitchell, dated June 8, 1958, Paris to New York, JMFA001, Joan Mitchell Papers, JMF; Albers, Joan Mitchell, 271.
864
Albers, Joan Mitchell, 190, 240.
865
Albers, Joan Mitchell, 240, 264, 272.
866
Albers, Joan Mitchell, 274–275.
867
Albers, Joan Mitchell, 275.
868
Joan Mitchell to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
869
Gooch, City Poet, 307–309.
870
Joan Mitchell to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
871
Barbara Guest to Helen Frankenthaler, July 8, 1959, Helen Frankenthaler Papers, HFF; Albers, Joan Mitchell, 283; Gooch, City Poet, 307–308.
872
Albers, Joan Mitchell, 275.
873
De Billy, Riopelle, 144.
874
Albers, Joan Mitchell, 275.
875
Joan Mitchell to Grace Hartigan, Greece to Bridgehampton, n.d., ca.1959, Box 20, Grace Hartigan Papers, Syracuse; Joan Mitchell to Grace Hartigan, postcard, Greece to Bridgehampton, n.d., ca. 1959, Box 20, Grace Hartigan Papers, Syracuse.
876
Grace Hartigan to Joan Mitchell, dated November 13 [ca. 1958], JMFA001, Joan Mitchell Papers, JMF.
877
De Billy, Riopelle, 153.
878
Allen, The Collected Poems of Frank O’Hara, 328–329.
879
De Billy, Riopelle, 140.
880
Stable Gallery business records, JMFA001, Joan Mitchell Papers, JMF; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
881
Cajori, Joan Mitchell: Portrait of an Abstract Painter, film.
882
De Billy, Riopelle, 140, 142.
883
Nemser, “An Afternoon with Joan Mitchell”, 6.
884
De Billy, Riopelle, 143; Deborah Solomon, “In Monet’s Light”, www.nytimes.com/1991/11/24/magazine/in-monet-s-light.html.
885
От слова ogre — «людоед». Прим. перев.
886
De Billy, Riopelle, 142.
887
De Billy, Riopelle, 143.
888
Bernstock, Joan Mitchell, 114–115.
889
Мэрион Каджори, письмо коллекционерам о сборе средств на фильм «Джоан Митчелл: портрет абстрактного художника» от 4 мая 1990 г., JMFA001, Joan Mitchell Papers, JMF; Sandler, “Mitchell Paints a Picture”, 45.
890
Oral history interview with Joan Mitchell, May 21, 1965, AAA-SI.
891
De Billy, Riopelle, 145–146.
892
Albers, Joan Mitchell, 275.
893
De Billy, Riopelle, 145–146; Albers, Joan Mitchell, 276.
894
Albers, Joan Mitchell, 276; de Billy, Riopelle, 147.
895
Albers, Joan Mitchell, 279.
896
Albers, Joan Mitchell, 273.
897
Peter Schjeldahl, “Tough Love”, www.newyorker.com/magazine/2002/07/15/tough-love-3.
898
Albers, Joan Mitchell, 279–280.
899
Albers, Joan Mitchell, 280, 283; de Billy, Riopelle, 153.
900
Joan Mitchell to Mike Goldberg, n.d., Michael Goldberg Papers, 1942–1981, AAA-SI.
901
B. H. Friedman, “Manhattan Mosaic”, 26–29; Nemser, “A Conversation with Lee Krasner”, 46; Friedman, “Lee Krasner”, draft manuscript, 1965, Series 2.4, Box 10, Folder 7, Lee Krasner Papers, AAA-SI, 18.
902
Clement Greenberg Journal, March 11, 1956, Box 16, Folder 3, Journal 18, Series II, Clement Greenberg Papers, GRI (950085).
903
Clement Greenberg, interview by John Gruen, n.d., AAA-SI, 10; Jachec, The Philosophy and Politics of Abstract Expressionism, 19; Marquis, Art Czar, 164.
904
Marquis, Art Czar, 166–168; Greenberg and Van Horne, interview by Dodie Kazanjian, AAA-SI, 1.
905
Marquis, Art Czar, 166–167, 169.
906
Marquis, Art Czar, 169–171; Greenberg and Van Horne, interview by Dodie Kazanjian, AAA-SI, 1.
907
Rubenfeld, Clement Greenberg, 222; Marquis, Art Czar, 172.
908
Rubenfeld, Clement Greenberg, 218.
909
Lee Krasner, interview by John Gruen, AAA-SI, 27.
910
Lee Krasner, interview by John Gruen, AAA-SI, 14; Gooch, City Poet, 341.
911
Rubenfeld, Clement Greenberg, 218. К ним присоединился Портер Маккрэй, глава Международной программы Музея современного искусства.
912
Rubenfeld, Clement Greenberg, 218. К ним присоединился Портер Маккрэй, глава Международной программы Музея современного искусства.
913
Rubenfeld, Clement Greenberg, 218. К ним присоединился Портер Маккрэй, глава Международной программы Музея современного искусства, 218–219; Greenberg and Van Horne, interview by Dodie Kazanjian, AAA-SI, 1; Nemser, “A Conversation with Lee Krasner”, 49.
914
Lee Krasner, interview by Richard Howard, Box 10, Folder 1, Lee Krasner Papers, AAA-SI; “Lee Krasner Paintings, 1959–1962”, The Pace Gallery, February 3—March 10, 1979.
915
Lee Krasner, interview by Richard Howard, Box 10, Folder 1, Lee Krasner Papers, AAA-SI; Lee Krasner, interview by Robert Coe, videotape courtesy PKHSC; “Lee Krasner Paintings, 1959–1962”, The Pace Gallery.
916
Lee Krasner, interview by Richard Howard, Box 10, Folder 1, Lee Krasner Papers, AAA-SI.
917
“Lee Krasner Paintings, 1959–1962”, The Pace Gallery.
918
Lee Krasner, interview by Richard Howard, Box 10, Folder 1, Lee Krasner Papers, AAA-SI; “Lee Krasner Paintings, 1959–1962”, The Pace Gallery; Hobbs, Lee Krasner (1999), 154.
919
Harrison, “East Hampton Avant-Garde”, 18; Friedman, “Lee Krasner”, draft manuscript, 1965, Series 2.4, Box 10, Folder 7, Lee Krasner Papers, AAA-SI, 18–19.
920
Lee Krasner notes, August 1, 1959, Box 8, Folder 21, Lee Krasner Papers, AAA-SI.
921
Hobbs, Lee Krasner (1999), 18.
922
Rubenfeld, Clement Greenberg, 220; Nemser, Art Talk, 99.
923
Landau, Lee Krasner: A Catalogue Raisonné, 314.
924
Rubenfeld, Clement Greenberg, 220; Janice Van Horne, interview by author; Van Horne, A Complicated Marriage, 140–142; Nemser, “A Conversation with Lee Krasner”, 47.
925
Rubenfeld, Clement Greenberg, 220.
926
Nemser, “A Conversation with Lee Krasner”, 47; Nemser, Art Talk, 99; Rubenfeld, Clement Greenberg, 221.
927
Rubenfeld, Clement Greenberg, 158–159, 217.
928
Nemser, Art Talk, 99; Nemser, “A Conversation with Lee Krasner”, 47; Rubenfeld, Clement Greenberg, 217.
929
Lee Krasner, interview by Robert Coe, videotape courtesy PKHSC.
930
Rubenfeld, Clement Greenberg, 220–221.
931
Rubenfeld, Clement Greenberg, 221–222; Marquis, Art Czar, 173.
932
Nemser, Art Talk, 99; Nemser, “A Conversation with Lee Krasner”, 47.
933
Nemser, “A Conversation with Lee Krasner”, 47.
934
Lee Krasner, interview by Barbara Cavaliere, AAA-SI, 24–25.
935
Lee Krasner, interview by Barbara Cavaliere, AAA-SI, 26.
936
Levin, Lee Krasner, 340–344, 359, 382; Landau, Lee Krasner: A Catalogue Raisonné, 315, 318.
937
Lee Krasner, interview by Barbara Rose, 1975, GRI; Levin, Lee Krasner, 360–61; Landau, Lee Krasner: A Catalogue Raisonné, 315.
938
Landau, Lee Krasner: A Catalogue Raisonné, 316.
939
Levin, Lee Krasner, 366, 381; Landau, Lee Krasner: A Catalogue Raisonné, 317.
940
Landau, Lee Krasner: A Catalogue Raisonné, 12, 317–318; Bennett, “Lee Krasner, In Her Own Right”, 2. Ли говорила: «Запоздалое признание, которое я наконец получила, во многом связано с подъемом сознания общества благодаря феминистскому движению, которое я считаю главной революцией нашего времени». В 1972 году Ли присоединилась к пикету возле Музея современного искусства в знак протеста против отсутствия на выставках работ женщин-художниц.
941
Landau, Lee Krasner: A Catalogue Raisonné, 317.
942
Landau, Lee Krasner: A Catalogue Raisonné, 318.
943
Landau, Lee Krasner: A Catalogue Raisonné, 318.
944
Landau, Lee Krasner: A Catalogue Raisonné, 318–319.
945
Wallach, “Lee Krasner’s Triumph”, 444; Lee Krasner, interview by Robert Coe, videotape courtesy PKHSC.
946
Levin, Lee Krasner, 365, 442; Landau, Lee Krasner: A Catalogue Raisonné, 319.
947
У Джорджии О’Киф в 1946 году и у Лорен Макивер в 1948 году прошли выставки в Музее современного искусства, но это не были ретроспективы. Lynes, Good Old Modern, 455–456; Levin, Lee Krasner, 442.
948
Levin, Lee Krasner, 448–450; Landau, Lee Krasner: A Catalogue Raisonné, 319.
949
Grace Glueck, “New Foundation to Aid Visual Artists”, www.nytimes.com/1985/04/11/arts/new-foundation-to-aid-visual-artists.html; Deborah Solomon, “Open House at the Pollocks”, 81; Landau, Lee Krasner: A Catalogue Raisonné, 319.
950
Elaine de Kooning, interview by Molly Barnes, 9; Bledsoe, E de K, 107–109; Rose Slivka, “Elaine de Kooning: The Bacchus Paintings”, 69. Элен в совокупности преподавала, читала лекции и проводила мастер-классы почти в шестидесяти колледжах и университетах США и Европы.
951
“Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 4.
952
Bledsoe, E de K, 19, 108.
953
Clay Fried, interview by author.
954
“Elaine de Kooning Portraits”, The Art Gallery, Brooklyn College, 4.
955
Elaine de Kooning, interview by Antonina Zara, 21; Lewallen, “Interview with Elaine de Kooning”, 8; Elaine de Kooning Lecture, C. F. S. Hancock Lecture, 6; Ernestine Lassaw, interview by author. Эрнестин Лассоу вспоминала другой сценарий. Она говорила, что портрет Джона Кеннеди Элен предложил написать общий друг Элен и Кеннеди, художник Билл Уолтон.
956
Fortune et al., Elaine de Kooning, Portraits, 113.
957
Rich, “Freedom of the Brush”, 50; Ashton, The New York School, 207; Fortune et al., Elaine de Kooning, Portraits, 113–114.
958
Elaine de Kooning, interview by Antonina Zara, 21; Elaine de Kooning, C. F. S. Hancock Lecture, 6.
959
Elaine de Kooning to Edith Schloss Burckhardt, February 4, 1963, New York to Rome, Edith Schloss Burckhardt Papers, MS No. 1763, Subseries I.A., Box 2, Columbia.
960
Elaine de Kooning, interview by Antonina Zara, 22; Elaine de Kooning to Ernestine Lassaw, n.d. [1963], Box 1, Folder 3, Elaine de Kooning Papers, ca. 1959–1989, AAA-SI; Elaine de Kooning, C. F. S. Hancock Lecture, 7; Lewallen, “Interview with Elaine de Kooning”, 10.
961
Fortune et al., Elaine de Kooning, Portraits, 50.
962
Elaine de Kooning, interview by Antonina Zara, 22; Ben Wolf, “Portrait of a President”, n.p., article courtesy Doris Aach; Lewallen, “Interview with Elaine de Kooning”, 12. В этот период Элен занялась скульптурой.
963
Elaine de Kooning, interview by Antonina Zara, 23.
964
Gruen, The Party’s Over Now, 212.
965
Hall, Elaine and Bill, 176; Connie Fox, interview by author.
966
Stevens and Swan, De Kooning, 577; Connie Fox, interview by author; Luke Luyckx, telephone interview by author.
967
Dr. Guy Fried, telephone interview by author.
968
Elaine de Kooning, interview by Jeffrey Potter, audiotape courtesy PKHSC; Stevens and Swan, De Kooning, 569–570.
969
Connie Fox, interview by author.
970
Elaine de Kooning, interview by Antonina Zara, 24; Clay Fried, interview by author; Stevens and Swan, De Kooning, 583–585.
971
Connie Fox, interview by author.
972
Stevens and Swan, De Kooning, 585.
973
Stevens and Swan, De Kooning, 587–588; Clay Fried, interview by author.
974
Connie Fox, interview by author; Stevens and Swan, De Kooning, 597.
975
Dr. Guy Fried, telephone interview by author.
976
Ernestine Lassaw, interview by author.
977
Dr. Guy Fried, telephone interview by author.
978
Doris Aach to Mark Stevens and Annalyn Swan, January 23, 2005, letter courtesy Doris Aach; Dr. Guy Fried, telephone interview by author; Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 2; Marjorie Luyckx to Joan Mitchell, dated November 30, 1989, Box 2, JMFA001, Joan Mitchell Papers, JMF.
979
Dr. Guy Fried, telephone interview by author; Doris Aach to Mark Stevens and Annalyn Swan, January 23, 2005, letter courtesy Doris Aach.
980
Ernestine Lassaw, interview by author.
981
Ernestine Lassaw, interview by author.
982
LeSueur, Digressions on Some Poems by Frank O’Hara, 102; Stevens and Swan, De Kooning, 624.
983
Elaine de Kooning to James Mitchell, August 7, 1986, James Mitchell Papers, 1981–1988, AAA-SI.
984
Doris Aach, interview by author, November 16, 2013; Luke Luyckx, telephone interview by author; Charles Fried, telephone interview by author; Helen Harrison, telephone interview by author.
985
Schloss, “The Loft Generation”, Edith Schloss Burckhardt Papers, Columbia, 2; Gooch, City Poet, 216; Stephen Chinlund, interview by author; Hall, Elaine and Bill, 266; Denise Lassaw, “Talk for Elaine’s Memorial”, 1990, Cooper Union, typed notes courtesy Denise Lassaw.
986
Curtis, Restless Ambition, 185.
987
Curtis, Restless Ambition, 182, 185; Phyllis Foster to Grace Hartigan, postmarked April 21, 1960, Box 1, Grace Hartigan Papers, Syracuse; Mattison, Grace Hartigan, 53.
988
Grigor, Shattering Boundaries, film.
989
Gabriel, “Amazing Grace”, 66.
990
Gooch, City Poet, 359–360; Curtis, Restless Ambition, 187–188; Grigor, Shattering Boundaries, film.
991
Grigor, Shattering Boundaries, film; Gooch, City Poet, 359–360; Curtis, Restless Ambition, 187–88; May Natalie Tabak to Larry Rivers, postmarked March 9, 1964, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 14, Folder 24, NYU; Gruen, The Party’s Over Now, 136.
992
Dore Ashton, interview by author; Curtis, Restless Ambition, 193, 198.
993
Norman Bluhm to Paul Jenkins, n.d., Paul Jenkins Papers, 1932–2009, AAA-SI.
994
Dore Ashton, interview by author; Nemser, Art Talk, 166.
995
Gabriel, “Amazing Grace”, 66–67.
996
Mattison, Grace Hartigan, 54; Rex Stevens, interview by author. Сын Беати Харт Перри и арт-дилер Майкл Клайн сегодня часто выставляют работы Грейс того периода ее жизни.
997
Gabriel, “Amazing Grace”, 67.
998
Mattison, Grace Hartigan, 61, 66.
999
Grace Hartigan to Paul Anbinder, n.d., Box 31, Grace Hartigan Papers, Syracuse.
1000
Helen Frankenthaler to Grace Hartigan, February 23, 1961, Box 12, Grace Hartigan Papers, Syracuse; Gabriel, “Amazing Grace”, 67.
1001
Grigor, Shattering Boundaries, film; Gabriel, “Amazing Grace”, 67; Gooch, City Poet, 454.
1002
Grigor, Shattering Boundaries, film; Rex Stevens, interview by author; Mattison, Grace Hartigan, 70.
1003
Gooch, City Poet, 459–466; Mattison, Grace Hartigan, 70.
1004
Gabriel, “Amazing Grace”, 67.
1005
Gabriel, “Amazing Grace”, 67.
1006
Mattison, Grace Hartigan, 79; “Martha Jackson Dies on Coast”, 19. Предполагалось, что у нее мог случиться во время плавания сердечный приступ.
1007
Curtis, Restless Ambition, 243; Mattison, Grace Hartigan, 84.
1008
Gabriel, “Amazing Grace”, 102; Grigor, Shattering Boundaries, film; Mattison, Grace Hartigan, 102.
1009
Curtis, Restless Ambition, 264.
1010
Gabriel, “Amazing Grace”, 102; Mattison, Grace Hartigan, 108.
1011
Mattison, Grace Hartigan, 112.
1012
Gabriel, “Amazing Grace”, 64.
1013
Grigor, Shattering Boundaries, film.
1014
Dore Ashton, interview by author.
1015
Mattison, Grace Hartigan, 110, 150–152.
1016
Curtis, Restless Ambition, 301.
1017
De Billy, Riopelle, 153–154; oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1018
Thomas B. Hess, “Inside Nature”, 41, 65; John Ashbery to Tom Hess, June 12 (n.d.), Paris to New York, Thomas B. Hess Papers, 1937–1978, AAA-SI. Джоан стала тем, о чем Том Хесс писал в своей статье, посвященной природе в искусстве, в частности ее картине «Хэмлок», созданной в 1956 году. Гесс утверждал, что Джоан и ее коллеги-художники базировались на своем собственном видении. «В моменты пауз, недоумения, изобретения и триумфа живопись и скульптура продолжаются, как это всегда было в прошлом, в сложных волнах движения. Разве недоумение не может быть триумфом? Паузой, огромной скоростью?.. Изменения происходят каждую секунду и у каждого человека. Эти постоянные изменения как раз и являются признаком силы жизни».
1019
ArtNews 60, no.7 (November 1961).
1020
Albers, Joan Mitchell, 288.
1021
Albers, Joan Mitchell, 289.
1022
Solomon, “In Monet’s Light”, n.p.
1023
Albers, Joan Mitchell, 288, 295–297, 303.
1024
Albers, Joan Mitchell, 308, 312.
1025
Munro, Originals, 237; Bernstock, Joan Mitchell, 73.
1026
Bernstock, Joan Mitchell, 73; Solomon, “In Monet’s Light”, n.p.; Albers, Joan Mitchell, 312.
1027
Solomon, “In Monet’s Light”, n.p.
1028
Munro, Originals, 233.
1029
Bernstock, Joan Mitchell, 69.
1030
Bernstock, Joan Mitchell, 213.
1031
Nemser, “An Afternoon with Joan Mitchell”, 24; Albers, Joan Mitchell, 320.
1032
Albers, Joan Mitchell, 332.
1033
Albers, Joan Mitchell, 321.
1034
Oral history interview with Joan Mitchell, April 16, 1986, AAA-SI.
1035
Albers, Joan Mitchell, 320, 344, 346.
1036
Albers, Joan Mitchell, 347.
1037
Albers, Joan Mitchell, 349.
1038
Albers, Joan Mitchell, 353; “Bio, Joan Mitchell, 1979”, JMF, http://joanmitchellfoundation.org.
1039
Albers, Joan Mitchell, 355–356, 364.
1040
Albers, Joan Mitchell, 372.
1041
Albers, Joan Mitchell, 369; Bernstock, Joan Mitchell, 164; “Bio, Joan Mitchell, 1981, 1982”, JMF, http://joanmitchellfoundation.org. Это был триумф посреди сезона потерь. В 1981 году в Нью-Йорке скончалась психоаналитик Джоан Эдрита Фрид, к которой художница опять обращалась за помощью после фиаско с Риопелем. А во время музейной выставки Джоан в Париже умерла ее старшая сестра Салли.
1042
“Bio, Joan Mitchell, 1984”, JMF, http://joanmitchellfoundation.org.
1043
Joan Mitchell to Barney Rosset, June 7, 1986, Vétheuil, France, to New York, JMFA003, JMF.
1044
“Bio, Joan Mitchell, 1989, 1991”, JMF, http://joanmitchellfoundation.org.
1045
“Solo Exhibitions, Joan Mitchell, Timeline”, JMF, http://joanmitchellfoundation.org/work/artist/timeline/1990; “Bio, Joan Mitchell, 1988–1989”, JMF, http://joanmitchellfoundation.org.
1046
“Bio, Joan Mitchell, 1992”, JMF, http://joanmitchellfoundation.org; “Joan Mitchell, Timeline”, JMF, http://joanmitchellfoundation.org/work/artist/timeline/1990; Albers, Joan Mitchell, 424–426.
1047
“Report of the Death of an American Citizen Abroad”, Department of State, Joan Mitchell Papers, JMF.
1048
Sandler, A Sweeper Up After Artists, 219; Deborah Solomon, “The Gallery”, April 28, 1993, Wall Street Journal; Albers, Joan Mitchell, 386.
1049
Barbara Butler, “New York Letter”, 55; Douglas Dreishpoon, “Giving Up One’s Mark”, 83.
1050
Butler, “New York Letter”, 55.
1051
B. H. Friedman to ArtNews editor, March 14, 1960, HFF.
1052
Eleanor Munro, “The Found Generation”, 39.
1053
“Editor’s Letters”, ArtNews 60, no. 8 (December 1961): 6.
1054
Helen Frankenthaler to Grace Hartigan, November 30, 1961, Box 12, Grace Hartigan Papers, Syracuse.
1055
Flam et al., Robert Motherwell, 212.
1056
Flam et al., Robert Motherwell, 213; Jeannie Motherwell, telephone interview by author, July 8, 2014.
1057
Lise Motherwell, telephone interview by author.
1058
Helen Frankenthaler to Grace Hartigan, February 23, 1961, New York to Baltimore, Box 12, Grace Hartigan Papers, Syracuse.
1059
Jeannie Motherwell, telephone interview by author, July 8, 2014.
1060
Jeannie Motherwell, telephone interview by author, July 8, 2014.
1061
Jeannie Motherwell, telephone interview by author, August 12, 2014.
1062
Dreishpoon, “Giving Up One’s Mark”, 83; Carmean Jr., Helen Frankenthaler, 96.
1063
Jeannie Motherwell, telephone interview by author, July 8, 2014; Lise Motherwell, telephone interview by author.
1064
Flam et al., Robert Motherwell, 213.
1065
Robert Motherwell, “Two Famous Painters’ Collection”, 88–91.
1066
Dreishpoon, “Giving Up One’s Mark”, 83.
1067
Robert Motherwell, interview by Dennis Young, Ontario College of Art Talk, audiotape, 1970, Art Gallery of Ontario; Charles A. Riley II, The Saints of Modern Art, n.p.; Gruen, The Party’s Over Now, 194; Grace Hartigan to Gertrude Kasle, June 3, 1965, Series 1, Box 2, Folder 22, The Gertrude Kasle Gallery Records, 1949–1999 (bulk 1964–1983), AAA-SI; Munro, Originals, 221.
1068
Dreishpoon, “Giving Up One’s Mark”, 84–85; Carmean Jr., Helen Frankenthaler, 97.
1069
“People”, Time 109, no. 17 (April 25, 1977): n.p.; Munro, Originals, 219.
1070
Lise Motherwell, telephone interview by author.
1071
Jeannie Motherwell, telephone interview by author, August 12, 2014; Lise Motherwell, telephone; interview by author.
1072
Gruen, The Party’s Over Now, 274; Gooch, City Poet, 466.
1073
Gruen, The Party’s Over Now, 194; Flam et al., Robert Motherwell, 141.
1074
Amei Wallach, “Living Color”, 11.
1075
Amei Wallach, “Living Color”; Glueck, “Helen Frankenthaler, Abstract Painter Who Shaped a Movement”; Dreishpoon, “Giving Up One’s Mark”, 85; Carmean Jr., Helen Frankenthaler, 98.
1076
Deborah Solomon, “Artful Survivor”, 68; Michael Demarest, “The Arts: Helen Frankenthaler”, 43; Clifford Ross, interview by author, February 18, 2014; Dreishpoon, “Giving Up One’s Mark”, 86.
1077
Dreishpoon, “Giving Up One’s Mark”, 86.
1078
Paul Richard, “Much Ado about Frankenthaler”, D1, D3.
1079
Paul Richard, “Much Ado about Frankenthaler”, D1, D3. Он объявил ее «практически невозможной для интервьюирования», а в качестве примера, подтверждающего это, отметил потрясающую сдержанность Хелен и ее отказ от комментариев заявления, что ее одежда по цвету сочетается с ее живописью.
1080
Karen Wilkin, “Frankenthaler and Her Critics”, 20–21; Helen Frankenthaler, interview by Barbara Rose, GRI; Gregory Galligan, “An Interview with Helen Frankenthaler”, n.p.
1081
Ellen M. Iseman, interview by author.
1082
Wallach, “Living Color”, 11; Clifford Ross, interview by author, February 18, 2014.
1083
“Helen Frankenthaler”, The Telegraph, December 28, 2011.
1084
Louise Sweeney, “Helen Frankenthaler, Painter of the Light Within”, B2.
1085
Sophy Burnham, “Portrait of the Artist as a Woman”, 96, 99; “Lunch”, Lear’s (November — December 1988): 31; Clifford Ross, interview by author, January 14, 2014.
1086
“Lunch”, Lear’s, 34.
1087
“Stephen M. DuBrul Jr., 82, Darien: $20 million”, Hartford Courant, http://www.courant.com/news/connecticut/hc-who-they-were-top-10; Glueck, “Helen Frankenthaler, Abstract Painter Who Shaped a Movement”.
1088
“Helen Frankenthaler Artworks, Prints, 2000s”, HFF, www.frankenthalerfoundation.org/.
1089
Jeannie Motherwell, telephone interview by author, July 8, 2014.
1090
N. Edgar. Club Without Walls: Selections from the Journals of Philip Pavia («“Клуб” без стен: подборки из дневников Филиппа Павии»). — Midmarch Arts Pr; первое издание 2007 г. Прим. ред.
1091
Gruen J. The Party’s Over Now («Вечеринка уже закончилась»). 1972. Прим. ред.
1092
Potter J. To a Violent Grave: An Oral Biography of Jackson Pollock («К насильственной могиле: устная биография Джексона Поллока»). 1994. Прим. ред.