128She was struck immediately by Auerbach: Hughes, 1990(1), p. 133.
128‘Leon and I were perhaps a bit rougher…’: ibid., p. 29.
129‘The world I grew up in was fairly medieval…’: McKenna, 1993.
129Then he discovered Rembrandt’s A Woman Bathing in a Stream’: ibid.
130Later on, in 1943: Moorhouse, 1996, p. 10.
130‘Drawing is making an image…’: quoted in Wilcox, 1990, p. 33.
131At the National Gallery he had been in the habit: Kendall, p. 12.
131‘heavily worked and very black’: http://benuri100.org/artwork/portrait-of-n-m-seedo/
131In the 1950s one of those figures: see Hyman, 2001, pp. 142–45.
131‘the most exciting stories that I had ever read…’: Seedo, 1964, p. 336.
132‘The struggle that he was engaged in…’: ibid.
133As penniless students, he and Kossoff: Hughes, 1990(1), p. 33.
133That year, Auerbach became fully himself: Lampert, 2015, p. 38.
133‘The whole situation was obviously more tense and fraught…’: ibid.
133Equally, knowing her so well: ibid.
134Not only were the pictures themselves: Lampert, 2015, p. 50.
134‘Frank’s painted me with tears…’: Hughes, 1990(1), p. 134.
Chapter 9
137The attraction was that: Craig-Martin, 2010, p. 3.
138In 1950, Britain accounted for ten per cent: Hennessy, 2006, p. 106.
138‘Over the Atlantic lay the land of Cockaigne…’: Jarman, 1987, p. 46.
138One of these was Reg Smith, better known as Marty Wilde: Hennessy, 2006, p. 19.
138The music that would inspire Marty Wilde: Craig-Martin, 2010, p. 7.
139The occasion was a meeting of the ‘Independent Group’: see Massey, 1995, pp. 33–53.
139If you stepped out of an Independent Group gathering: ibid., p. 49.
139A few years later, writing in 1959: ibid., p. 50.
141The ICA was the headquarters: ibid., pp. 19–31.
141Alloway summarized Read’s argument: ibid., p. 73.
141The Independent Group members were in revolt: Greenberg, 1961, pp. 3–21.
141The other part of Greenberg’s thesis: ibid.
142Alloway took the opposite point of view: Alloway, 1958.
145Another version has the term originating: according to an interview with McHale’s son, www.warholstars.org/articles/johnmchale/johnmchale.html
145In 1957, Richard Hamilton produced: Morphet, 1992, p. 149.
145The critic John Russell saw this new mood: Sandbrook, 2006, pp. 72–73.
146Evenings at the ICA were now spent talking: Craig-Martin, 2010, pp. 5–6.
146From this Hamilton took away a subversive conclusion: ibid., p. 6.
146‘I was asked, “What can you do?”…’: ibid.
146‘It’s like making a world…’: ibid., p. 2.
147The voluptuous curves: see Tate online catalogue, www.tate.org.uk/art/artworks/hamilton-hommage-a-chrysler-corp-t0695.
150In the 1950s Hamilton was a prime mover: on ‘This is Tomorrow’, see Massey, 1995, pp. 95–107; Morphet, 1992, pp. 148–49.
152For the catalogue, and to publicize the exhibition: Morphet, 1992, pp. 148–49.
153In 1952, Berger organized an exhibition: Hyman, 2001, pp. 115–19.
153‘Does this work help or encourage men…’: Berger, 1960, p. 18.
153This exhibition, Berger informed the readers: Hyman, 2001, p. 115.
153Accordingly, when Bryan Robertson: ibid., p. 116.
154He picked out two, Edward Middleditch and Derrick Greaves: Spalding, 1991(2), p. 7.
155‘That was my life at the time…’: ibid.
155Sylvester described how these painters: Sylvester, 1954, pp. 62–64.
157‘The wretched critic’s term haunts us all…’: Spalding, 1991(2), p. 7.
Chapter 10
158This was why, towards the end of November 1956: Mellor, 1994, p. 28.
160‘At last we can see for ourselves…’: Heron, 1998, p. 100.
161‘To produce something spontaneously…’: Cohen, 2009.
162‘I was trying to produce…’: ibid.
162One must concern oneself: quoted www.portlandgallery.com/exhibitions/506/30341/alan-davie--the-eternal-conjurer-anthropomorphic-figures-no1?r=exhibitions/506/alan-davie--the-eternal-conjurer#
162Another British painter who got an early view: Lynton, 2007, p. 109.
163Professor Meyer Schapiro of Columbia University: for Schapiro and his visit, see O’Donnell, 2016.
163William Scott felt this: Lynton, 2007, p. 109.
163David Hockney, a nineteen-year-old: Hockney, 1976, p. 41.
164Francis Bacon was ‘terribly disappointed’: Gruen, 1991, p. 10.
165William Green, another member: on Green see Mellor, 1994, pp. 16–19.
167At a certain moment the canvas: Rosenberg, 1962, p. 36.
168The critic Mel Gooding observed: Gooding, 1994, p. 136.
169At twenty-one he had already set up: on Rumney see Miles, 2010, pp. 62–65.
170‘an archetypal outsider…’: Thompson, 2000.
171Rumney’s exhibit, The Change (1957): see Tate online catalogue, www.tate.org.uk/art/artworks/rumney-the-change-t05556
171In 1956, writing in a prospectus: Sandbrook, 2006, p. 55.
Chapter 11
175‘Abstract painting, that is painting…’: Denny, 1964, pp. 6–8.
175Lawrence Alloway was enthused: Whiteley, 2012, p. 119.
176One day in that same year, 1959: Farson, 1993, p. 117.
176Nonetheless, there he was in Cornwall: ibid.
176At that point in his career: for an extended discussion of Bacon in St Ives, see Tufnell, 2007, passim, and Harrison, 2005, pp. 136–53.
177According to the Irish painter Louis le Brocquy: Farson, 1993, p. 117.
177William Redgrave, a local artist: Harrison, 2005, p. 139.
178The painter and critic Giles Auty: Farson, 1993, p. 118.
178The Bacon scholar Martin Harrison: Harrison, 2005, p. 141.
180Also in 1959, the same year the Tate: for a discussion of ‘Place’, see Whiteley, 2012, pp. 141–45.
182Roger Coleman, the young critic: ibid., p. 142.
182‘the silliest exhibition I have ever seen…’: ibid., p. 143.
182The edge was a ‘clear hinge…’: ibid., p. 139.
184A sign of this came that same year: Mellor, 1994, p 47.
184A visitor described it: Sandbrook, 2006, p. 247.
185Clothes were increasingly part of the way artists: Mellor, 1994, p. 77.
186‘Situation: An Exhibition of British Abstract Painting’, at least in the minds of the artists involved: ibid., p. 75.
186Accordingly, in the words of William Turnbull: ibid., p. 77.
186The main criterion for including a work: Mellor, 1994, p. 90.
186Alloway, the Chairman, wrote in ARTnews: Mellor, 1994, p. 91, quoting ARTnews (September 1960).
186Over the month of the show: Whiteley, 2012, pp. 150–51.
189Hodgkin described the experience: Hodgkin, 1981.
189One day, William Coldstream asked: Moorhouse, 2017, p. 14.
190He always began: Hodgkin and Tusa, 2000.
193Alloway later argued: Whiteley, 2012, p. 151.
Chapter 12
195According to Hockney, the staff: Hockney, 1976, p. 42.
199At the Royal College, Derek Boshier’s circle: for Boshier’s experiences at the RCA, see Boshier & Reeve, passim.
199At eight years old, in his home town: Hockney, 1976, p. 28.
200Ronald Brooks Kitaj – usually ‘R. B.’: for Kitaj’s early career, see Livingstone, 1985, pp. 8–11.
201Kitaj, Hockney remembered: Hockney, 1976, p. 40.
201'I naturally thought I wouldn’t have a chance…’: Sykes, 2011, p. 52.
202‘Being the way they were, they thought, he can draw…’: Hockney, 1976, p.
42.
202Hockney thought: ‘It’s quite right…’: ibid., p. 41.
204Hockney thought ‘it was probably…’: ibid., p. 42.
Chapter 13
206The Tate Trustees agreed to the show: for the genesis of the 1962 Bacon exhibition at the Tate see Peppiatt, 1996, pp. 230–38.
207Bacon later told David Sylvester: Sylvester, 1975, p. 13.
207Soby, author of studies of Joan Miró: for Soby’s interpretation and tribulations, see Martin Harrison, ‘Bacon’s Paintings’, in Gale & Stephens, 2008, pp. 41–45.
208A list of potential subjects: Gale & Stephens, 2008, p. 149.
209‘I want very, very much to do the thing…’: Sylvester, 1975, p. 65.
210She added Bacon because: Riley, 1999, p. 7.
210‘Art,’ Hegel concluded…’: Hegel, 1975, p. 10.
211When Bacon’s Tate exhibition: Peppiatt, 1996, pp. 234–37.
211When the paintings were all installed: Farson, 1993, pp. 150–52.
212Lacy’s consumption: Peppiatt, 2015, p. 76.
212Bacon wrote in a letter to the Tate Gallery: Gale & Stephens, 2008, p. 144.
212We have seen that Bacon often: on Bacon and photography, see Harrison, 2005, passim.
213The question for him: for this and following quotations, Sylvester, 1975, pp. 38–41.
217John Deakin staggered into the French House: Farson, 1988, p. 178.
219Freud was not formally interviewed: the 1977 interview is in Gruen, 1991, pp. 315–24.
219The conversation did not go well: Peppiatt, 2015, p. 41.
219A decade later Freud told John Russell: Russell, 1974, p. 5.
220‘At Clarendon Crescent…’ : Feaver, 2002, p. 30.
222In a celebrated book: on the naked and the nude, see Clark, 1957, pp. 1–25.
Chapter 14
227‘I paint about communication…’: from Smith’s notes to Trailer, quoted Mellor, 1994, p. 126.
227For Trailer Freeman had shot: on Smith and cigarette-packet design, see ibid., pp. 126–29.
228His art dealer in Manhattan: see Burn, 2000.
229On the other hand, in Pop terms: the following quotations are ibid.
230At one ICA discussion: Whiteley, p. 146, n. 22.
231This was the year that Blake painted: on Self-Portrait with Badges, see Daniels, 2007, and Jonathan Jones, ‘Portrait of the Week’, Guardian, 2 February 2002, www.theguardian.com/culture/2002/feb/02/art
231In the mid-1950s, when they were still young art students: on Smith and Blake’s tastes in music, clothes and haircuts, see Burn, 2000.
233Noland told Kasmin: Hucker, 2013.
236The November 1962 edition of a magazine: Tate, 2013, p. 99. Tate’s study is the primary source for Boty’s life and art in the following paragraphs.
239Many people, she explained: ibid., p. 72.
243He was born in February 1934: on Bowling’s art and career, see Gooding, 2011.
Chapter 15
246‘London, like the paint I use…’: Moorhouse, 1996, p. 36.
246The art critic Andrew Forge: quoted in Richard Morphet, obituary of Helen Lessore, Independent, 8 May 1994.
250‘being in an enormous bed…’: Miles, 2010, p. 40.
251Bruce Bernard remembered: Bernard, 1995, p. 50, and subsequent quotations, pp. 50–53.
253In January 1963: Calvocoressi, 2017, p. 14, subsequent quotations from Andrews, ibid., p. 9.
255‘I climbed up and down…’ : Rothenstein, 1984, p. 218.
256the model represented a problem: Gowing & Sylvester, 1990, p. 25.
259Auerbach’s lover Stella West: Hughes, 1990(1), p. 114.
262The critic Robert Hughes: ibid., p. 160.
263He was fascinated by its mutability: Moorhouse, 1996, p. 20.
264‘Every time the model sits…’:, ibid., p. 22.
265Still, he kept doggedly drawing: Hicks, 1989, p. 44.
266‘Nothing really begins to happen…’: McKenna, 1993.
Chapter 16
267One day in April: Sykes, 2011, pp. 93–94.
267More significantly for his long-term future: ibid., pp. 83–89.
268‘The main thing was…’: Walsh, 2016.
268Writing several years later: Robertson, 1965, p. 235.
269He bought a ticket to New York: Sykes, 2011, pp. 95 ff.
269New York ‘was amazingly sexy…’: ibid., p. 95.
270Late in 1962, ibid., p. 110.
270This tussle with authority: ibid., pp. 106–11.
271On Wednesday 17 April 1963: ibid., pp. 123–24.
274In the late spring of 1963: ibid., pp. 128 ff.
274‘My God,’ he thought, ‘this place needs its Piranesi…’: ibid., p. 145.
277he and Kasmin paid a visit: ibid., pp. 149–50.
277In LA in 1964, Hockney noted: Hockney, 1976, pp. 103–4.
277Hockney described the picture: ibid.
279on 9 January 1966: Sykes, 2011, p. 169.
283he saw an advertisement for Macy’s: Hockney, 1976, p. 124.
285He sometimes wondered: ibid., p. 160.
288Hockney has described the way: ibid., pp. 152–57.
288Hockney's aim was to represent: ibid., pp. 203–4.
289In the spring of 1970: ibid.
Chapter 17
290‘It was a period of hope…’: Hucker, 2013.
290The doorway on North Audley Street: for Riley’s meeting with Musgrave, and quotation, Miles, 2010, p. 79.
291She spent her time nursing her father: Riley’s activities are detailed in Moorhouse, 2003, p. 221.
293When she had finished: this incident and subsequent quotations are from Kimmelman, 2000.
295When he ‘came within range…’: Follin, 2004, p. 44.
296The artist was once told: ibid., p. 63.
296Here was art, Jonathan Miller wrote: ibid., pp. 38–40.
296In 1965, she made a public statement: Riley, 1999, pp. 66–68.
297This was a time when excitement: Sandbrook, 2006, p. 7.
298However, Kasmin wrote to the American: Sykes, 2011, p. 132.
300Smith wanted his paintings to ‘enter the real world…’: Robertson, 1965, p. 12.
302But Quant herself felt the garment was: Polan & Tredre, 2009, p. 103.
305At the opening of ‘The Responsive Eye’: Follin, 2004, p. 192.
305Time magazine, breathlessly covering the opening: ibid., pp. 190–91.
306she was greeted, ‘by an explosion…’: Riley, 1999, p. 66.
306On 13 March 1965, Hella Pick: Follin, 2004, p. 191.
306According to the American critic John Canaday: ibid., p. 178.
307‘So, you don’t like it?’: ibid., p. 192.
308Mirror (1966) depicts the artist himself: for an account of Bowling’s painting and the circumstances of its making, see Gooding, 2011, pp. 47–50.
Chapter 18
313‘The picture’, he once explained to the critic Robert Hughes: Hughes, 1990(2), p. 284.
315At the time Chatwin lived in a flat: Auping, 1995, pp. 14–15.
316He informed an audience at the Slade in 1981: Hodgkin, 1981.
316In Mr and Mrs E.J.P. (1969–73) the collector: Moorhouse, 2017, p. 106.
317He told Richard Morphet that the 1950s: Auping, 1995, p. 12.
317‘The more evanescent…’: Moorhouse, 2017, p. 35.
318He too felt that he was isolated: Livingstone, 1985, p. 18.
319Some of his early works, such as The Murder of Rosa Luxemburg: for Kitaj’s notes on this picture, see Morphet, 1994, p. 82.
319The Ohio Gang (1964) is not about the cronies: ibid., p. 84.
320As a preface he quoted the Roman poet: Livingstone, 1985, p. 16.
320When he was a child, he explained: Morphet, 1994, p. 48.
322He remembered how ‘Harry Fischer…’: ibid., p. 44.
322‘I believe he sought to stun his audience…’: ibid.
323Kitaj admitted as much: ‘Romance provides…’: L
ivingstone, 1985, p. 16.
325One of Rego’s most striking pictures: for the genesis of Stray Dogs, see McEwen, 1992, pp. 76–77.
325‘Fear is something you have all the time…’: Eastham & Graham, 2011.
325In contrast, as the critic Christopher Finch: Wallis, 2013(1), p. 53.
326Caulfield claimed that his clear bold line: for Caulfield’s visit to Knossos, see Livingstone, 1999, p. 25.
326‘The subjects are imaginary…’: Wallis, 2013(1), p. 59.
326 Santa Margherita Ligure (1964) was based: Wallis, 2013(2).
327To be precise, he explained: Livingstone, 1999, p. 23.
327When he left school aged fifteen: ibid.
330Looking back, Caulfield reflected: Vyner, 1999, p. 140.
330Bridget Riley tells the story: ibid., pp. 146–47.
330He was instrumental in persuading the band: for the Sgt. Pepper cover, see ibid., pp. 186–90.
330Caulfield recounted an occasion: ibid., pp. 140–42.
331On the evening of Sunday 12 February: for detailed accounts of the bust, see ibid., pp. 178 ff.
332The photograph made a strong impression on Richard Hamilton: for an account of Hamilton’s Swingeing London 67 series, see Morphet, 1992, pp. 166–68.
332‘The gallery was empty, poor…’: Vyner, 1999, pp. 204–5.
Epilogue
336Less dramatic, and more irreverent: Hockney, 1976, p. 194.
339‘I was the right kind of artist…’: Burn, 2000.
339‘Robyn Denny keeps saying…’: ibid.
Bibliography
Alloway, Lawrence, Nine Abstract Artists, London, 1954
—, ‘The Arts and the Mass Media’, Architectural Design (February 1958)
Auping, Michael et al., Howard Hodgkin Paintings, London, 1995
Berger, John, Permanent Red: Essays in Seeing, London, 1960
Bernard, Bruce, ‘Painter Friends’, in From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj, exh. cat., London, British Council, 1995
— & Derek Birdsall (eds), Lucian Freud, London, 1996
Berthoud, Roger, Graham Sutherland: A Biography, London, 1982
Bird, Michael, Sandra Blow, Aldershot, 2005
Blow, Sandra, Interview with Andrew Lambirth, Part 3. National Life Stories: Artists’ Lives, British Library, 7 October 1996
Boshier, Derek & Olivia Reeve, ‘Derek Boshier in conversation with Octavia Reeve’, Royal College of Art Blog, 30 June 2016, www.rca.ac.uk/news-and-events/rca-blog/derek-boshier/
Modernists and Mavericks Page 31