Acknowledgments
This book has been a long time in the making. The earliest conversations folded into this text are now over twenty-five years old. A slightly eerie, though fascinating, part of the process was listening again to recordings of my own voice questioning and responding to others, some now dead, decades ago. Their thoughts and memories fill Modernists & Mavericks and are, in a way, its subject.
I should like to thank again all those I have talked to over the years, and most of all those who helped me generously during the gestation of this project: Frank Auerbach, Gillian Ayres, Frank Bowling, Anthony Eyton, David Hockney, Kasmin, James Kirkman, John Lessore, Richard Morphet, Henry Mundy, Rachel Scott, Angus Stewart and John Wonnacott.
In addition, Gillian Ayres, Frank Bowling, David Dawson, Catherine Lampert, Allen Jones and Daphne Todd kindly read sections of the text and made many invaluable suggestions. A student of mine, Maggie Armstrong, taught me a lot about Sandra Blow. My son Tom gave stalwart assistance in reading early drafts and my daughter Cecily also contributed crucial advice. The members of the team at Thames & Hudson, particularly Michela Parkin, Julia MacKenzie, Poppy David, Maria Ranauro and Anna Perotti, have done a marvellous job of editing, picture research and design. It has been a pleasure to collaborate with them.
Index
Page numbers refer to the 2018 print edition
Page numbers in italic refer to the illustrations
Abstract Expressionism 35–36, 45, 88, 89, 141, 144, 160–74, 175, 198–99, 202, 203, 289, 299
Abstraction 88–106
Ambiguity 187–90
Bacon and 178–79
hard-edge paintings 182–84, 192, 230
Hilton and 100–4
Pasmore turns to 94–98
Royal College of Art and 198–99
‘Situation’ exhibitions 186–87, 192–93
Action Artist (film) 165, 166
action painting 160–62, 165–8, 170–74
Adams, Robert 103
Agnew’s 37
Aitchison, Craigie 247
Alloway, Lawrence 103–4, 139, 141–43, 145, 146, 175, 182, 185, 186, 192–93, 204, 268
Altamira cave paintings 334, 335
American Embassy library 137, 152
Andrews, Michael 2, 228, 247, 248, 249, 251–55, 338
All Night Long 252
Colony Room I 251–52, 251
The Deer Park 252
Good and Bad at Games 252
Portrait of Timothy Behrens 253–54, 254
Angelico, Fra 285
Annesley, David 301
Art informel 89
Artists International Association (AIA) 93, 100, 170, 171
ARTnews 166–67, 186
Arts Council 89–91, 120
Atlas, Charles 152
Attlee, Clement 8, 93
Auden, W. H. 44
Auerbach, Frank 7, 8, 15, 129, 144, 158, 189–90, 247–50, 249, 255, 266
and Abstract Expressionism 160, 164–65
on attitudes to painting 25, 197
on Bacon 22, 37, 107
on Bomberg 61, 64–68
on Coldstream 50
on ‘crossing the border’ 366
early life 127–28, 133–36
exhibitions 130, 134–36, 204–5
and Freud 76, 115, 220–21, 259
on Hockney 269, 289
and Kossoff 125–27, 128, 130–31, 136
in the 1960s 259–63, 335
E.O.W. Nude 133–34, 135
E.O.W., S.A.W. and J.J.W. in the Garden I 261
Mornington Crescent with the Statue of Sickert’s Father-in-Law III 262, 263
Rebuilding the Empire Cinema 126
Summer Building Site 133
Austin Reed 184–85, 185
Auty, Giles 178
Ayer, A. J. 67
Ayres, Gillian 8, 10, 174, 278, 338
and abstraction 93, 100, 101–3, 187–90
action paintings 168, 170, 171–74
at Camberwell 41–42, 49, 50–4, 54, 56, 137
exhibitions 169, 170, 186, 192–93
on the Independent Group 141
Cumuli 187, 188
Hampstead Mural 171–74, 172–73
Ayrton, Michael 19
Bachardy, Don 286–7, 288
Bacon, Francis 2, 8–10, 21, 26, 42, 49, 59, 116, 189–90, 247–48, 249
and abstraction 164, 178–79
Bomberg on 61–62
destroys paintings 37, 112, 113
early life 25–39, 79
exhibitions 22–23, 37, 51, 83, 168, 177, 206–7, 211–12, 337
and Freud 114–17
influence of 162, 203, 311, 335, 337
John Berger and 153
Kitaj and 321–23
make-up 30
in the 1950s 107–14
in the 1960s 206–16
obsession with paint 27–33
opposition to ‘illustration’ 120–22, 210, 321
Picasso’s influence 23–25, 36, 108, 211, 224
and photography 81–82, 210, 212–16, 336
portraits 108–12, 250–51
relationships 85–86, 109–12, 176–77
in St Ives 176–78
screaming popes 85–87, 113
on shadows 107
studios 80–81, 80
travels 79–80
Van Gogh paintings 177
working methods 113–14
Crucifixion 36, 38, 141, 209
Figure in a Landscape 27, 28–30, 29
Figure Study II 33
Figures in a Garden 38
Heads 79, 83–7, 84
Painting 1946 32, 33–35, 37, 38–39, 79, 209
Portrait of Lucian Freud 117
Sketch of reclining figure 181
Study for a Portrait 110, 111
Study for Portrait of Henrietta Moraes 215
Three Studies for a Crucifixion 206–11, 208
Three Studies for Figures at the Base of a Crucifixion 22–23, 24, 25, 27, 33, 35, 38, 212
Three Studies of Lucian Freud 6
Wound for a Crucifixion 37
Balla, Giacomo 291, 292
Balthus 322
Banham, Reyner 139–41, 146
Barber, Chris 142
Barker, George 17
Barr, Alfred H. 39, 78–79
Baselitz, Georg 267, 335
Bath School of Art and Design 189
Battleship Potemkin 83, 85, 86, 212
Baudelaire, Charles 81, 330
Bauhaus 25, 291
BBC 163, 233
The Beatles 185, 185, 330, 333
Beaux Arts Gallery 134–36, 154–55, 246–48, 250, 252–53
Behrens, Timothy 2, 248, 249, 250, 253–54, 254
Belcher, Muriel 212–13, 251
Bell, Graham 50
Bellamy, Richard 228
Bellingham-Smith, Elinor 164, 212
Belmondo, Jean-Paul 239
Belton, Ron 176, 178
Berger, John 55, 131, 153–54, 155
Berger, Mark 269
Bergman, Ingmar 123–24
Berkeley, Bishop 63–64
Berlemont, Gaston 118
Bernard, Bruce 14, 19, 250, 251–52
Bernard, Jeffrey 14, 250, 252
Birtwell, Celia 289
Blackwood, Caroline 114
Blake, Peter 142–45, 147, 230–33, 239, 240, 311, 338
Got a Girl 143
Sgt. Pepper’s Lonely Hearts Club Band 330, 333
Self-Portrait with Badges 231–33, 231
Blake, William 68, 202, 289
Bloomsbury Group 23
Blow, Sandra 88, 90, 98, 168
Construction, Rock and Water 98
Painting 1957 98, 99
Boccioni, Umberto 62, 292
Bolus, Michael 301
Bomberg, David 44, 59–68, 95, 125, 128, 130, 165, 204, 289, 335
Evening in the City of London 66, 66
The Mud Bath 62
&n
bsp; Self-Portrait 60
Bonnard, Pierre 178
Booker, Christopher 306
Borough Polytechnic 59–62, 65–68, 125
Boshier, Derek 195, 199, 203, 233–36, 269, 275, 330
England’s Glory 235
Special K 234, 235–36
Botticelli, Sandro 71, 239
Boty, Pauline 199, 233, 236–42, 241, 243
The Only Blonde in the World 238, 238, 240
Scandal ’63 239–41, 241
With Love to Jean-Paul Belmondo 239
Boucher, François 239
Bowen, Elizabeth 127
Bowling, Frank 10, 179, 195, 198, 199, 202, 228, 242, 243–45, 308–12, 322, 328, 338
Cover Girl 243–45, 244
Mirror 308–12, 310
Bradford School of Art 201
Brancusi, Constantin 141
Braque, Georges 125, 185
Bratby, John 154–57, 154, 235
The Toilet 155, 156
Braun, Felix 20
Brausen, Erica 39, 79, 177
Britten, Benjamin 44, 89
Bronowski, Jacob 68
Brown, Oliver 14
Brownjohn, Robert 227
Buhler, Robert 114, 197
Burgess, Guy 58
Burri, Alberto 88–89, 98
Burroughs, Edgar Rice 284
Calder, Alexander 205
Camberwell School of Art 40–42, 49, 51, 53–54, 56, 93, 137, 142
Camden Town Group 154, 260
Campbell, John W. 142
Canaday, John 306
Canberra, SS 267
Cardin, Pierre 243
Carnaby Street 184, 301
Caro, Anthony 9, 204, 290, 300–1
Early One Morning 300
Carone, Nicolas 88
Carrà, Carlo 62
cars 149, 149, 152
Caulfield, Patrick 9, 313, 325–31, 338
Corner of the Studio 329, 329
Santa Margherita Ligure 326–27, 327
Wine Bar 328
Cavafy, C. P. 275
Cézanne, Paul 76, 93, 144, 200, 255, 263, 322, 328, 335
Chardin, J.-B.-S. 82
Chatwin, Bruce 315, 316
Chomsky, Noam 97
Chrysler Corp 147–49, 152
Churchill, Winston 121–22, 121
Cimabue 209
Clark, Kenneth 18, 22, 38, 51, 94–95, 96, 123, 222
Clark, Ossie 199, 275, 288–89
Claude Lorrain 187
clothes 184–85, 194, 243, 301–6
Clough, Prunella 54–56
Cranes and Men 57
Cochrane, Peter 205
Cocteau, Jean 77, 78, 165
Coffin, Pat 306
Cohen, Bernard 230, 278–79
Alonging 280
Coldstream, William 8, 48, 54, 69, 147, 189
approach to painting 43–49, 52–53, 59, 76–77, 96, 101–3, 108
early life 18, 42–51
and photography 74, 81–82
at the Slade 50, 253–55, 256, 335
teaches at Camberwell 49
St Pancras Station 46, 47, 50
Coleman, Roger 182, 185
Collages 139, 147, 150, 152, 184–85
Colony Room 250–52, 251, 254, 317, 322
Colour 194–95, 300–1
colour field painting 178, 233, 243, 246, 273, 298
Colquhoun, Robert 11, 12, 17–18, 18, 19
Communist Party 51, 153
Connolly, Cressida 73–74
Connolly, Cyril 19, 50, 69, 155
Constable, John 31, 187, 263
Constructivism 89, 94, 98, 103
Cordell, Frank 145
Cork, Richard 63
Corot, J.-B.-C. 316
Courbet, Gustave 221, 308–11
Courrèges, André 243
Cragg, Tony 337
Craxton, John 12–17, 19–21, 22, 28, 43, 69, 71, 77
Beach Scene 70
Dreamer in Landscape 19–20, 21
Creffield, Dennis 61, 67, 68
Crosland, Anthony 171
Cubism 23, 125, 338
Cuthbertson, Penelope 224
Dada 139, 169
Dalí, Salvador 77, 269
Darwin, Robin 179, 201, 270–71
Davie, Alan 161–62, 168, 202
Birth of Venus 161
Dawson, David 224
de Kooning, Willem 160, 162, 255
de Maistre, Roy 27
de Sausmarez, Maurice 292
Deakin, John 2, 18, 109, 212–13, 214, 217–19, 218, 248–50, 249, 252
Debord, Guy 169
Degas, Edgar 200
del Renzio, Toni 139, 146
Delaunay, Robert 62
Denny, Anna 190–91, 191, 318
Denny, Robyn 144, 145, 159, 166, 169, 170, 175, 176, 180–82, 186, 190–92, 191, 210, 227, 229, 258, 300, 318, 339
Great Big Biggest Wide London 184–85, 185
Diamond, Harry 118–20
Dine, Jim 145, 228, 330
Doré, Gustave 219
Dubuffet, Jean 203
Duchamp, Marcel 85, 147, 150, 197, 334
Dyer, George 112, 212, 337
Eardley, Joan 9
Eisenstein, Sergei 83
Elgar, Edward 89
Eliot, T. S. 200, 320
Elizabeth II, Queen 245
Ellis, Clifford 189
Encounter 117, 120, 122, 155
Epstein, Jacob 73
Ernst, Max 139
Escher, M. C. 299
Euston Road School 41–42, 49–54, 67, 76, 96, 108, 147, 159
Eyton, Anthony 48–49
Fairlie, Henry 170
Farson, Daniel 211–12, 217–18
Fauvism 195, 270
Fawkes, Wally 41
Feigen, Richard L. 306
Fellini, Federico 331
Feminism 304–5
Fenton, Rudolf 240–41
Festival of the Arts (1951) 89–91
Festival of Britain (1951) 89, 95, 96, 97–98, 133
Festival Pattern Group 98
films 138, 150, 165–66
Finch, Christopher 325
Fischer, Harry 206–8, 322
Forge, Andrew 246, 253, 295
Formby, George 16
Fraser, Robert 330–33
Frederick’s of Hollywood 302–3, 304
Freeman, Betty 277
Freeman, Robert 225–27
Freud, Lucian 2, 6, 8, 13, 37, 56, 158–59, 247–51, 266, 336
and Bacon 22, 27, 30, 33, 86, 111, 112, 114–17, 212–13
early years in London 11, 12–21
exhibitions 78, 91, 217, 338
financial problems 216–17
friendship with Auerbach 259
in Greece 69, 71–72
John Berger and 153
and Kitty Garman 72–76, 78, 115
in the 1950s 114–24
in the 1960s 216–24, 335
nudes 221–24
observation 76–77
opposition to ‘illustration’ 120–21
Modernists and Mavericks Page 33