140.
“I don’t know how I can face another day”: Jacqueline Bograd Weld, Peggy: The Wayward Guggenheim (New York: Dutton, 1986), p. 332.
140.
“Soby dropped in”: letter from Howard Putzel to JP, n.d., Catalogue Raisonné, Vol. 4, p. 229.
141.
“a really disciplined painting”: interviews by Francine du Plessix and Cleve Gray, “Who Was Jackson Pollock?” Art in America (May 1967), p. 51.
141.
“wet with new birth”: Maude Riley, “Fifty-seventh Street in Review,” Art Digest, Nov. 15, 1943, p. 18.
141.
“an authentic discovery”: Robert Coates, “The Art Galleries,” The New Yorker, Nov. 20, 1943, p. 97.
141.
“surprise and fulfillment”: Clement Greenberg, “Art,” The Nation, Nov. 27, 1943, p. 621.
143.
“Jackson’s supposed to deliver”: interview with the artist’s close friend John Little, Jan. 1984.
144.
took off his clothes: Peggy Guggenheim, Out of This Century: Confessions of an Art Addict (New York: Universe Books, 1979), p. 296.
144.
“I hate my easel”: interview with Janet Chase, 1984.
145.
“Lee was very possessive”: Jeffrey Potter, To a Violent Grave: An Oral Biography of Jackson Pollock (New York: Putnam, 1985), p. 75.
145.
“Certain individuals”: Robert Motherwell, “Art Chronicle,” Partisan Review (Winter 1944), p. 97.
146.
“obviously wanted to accept”: “Jackson Pollock; An Artists’ Symposium, Part I,” Art News (April 1967), p. 64.
146.
Alfred Barr . . . felt the price was too high: Sweeney interview.
146.
“VERY HAPPY TO ANNOUNCE”: This telegram is in the Pollock Archive.
146.
“I am getting $150 a month”: letter from JP to Charles Pollock, n.d., Catalogue Raisonné, p. 233.
147.
“talked not about art but about money”: Potter, p. 152.
147.
Pollock was visited by Benton: Cindy Nemser, Art Talk (Scribner’s, 1975), p. 87.
147.
“Said he liked my stuff”: JP to Louis Bunce, n.d., Bunce papers, Archives of American Art.
148.
“Hofmann’s art colony”: Little interview.
148.
“I have a definite feeling”: “Jackson Pollock,” Arts and Architecture p. 14.
148.
“Pollock? He’s strong!”: interview with Peter Grippe, a friend of the artist, Jan. 1984.
148.
“We get in for a dip”: JP to his mother and others, n.d., Catalogue Raisonné, p. 234.
149.
“Lee didn’t think”: interview with Nene Schardt, Aug. 1984.
149.
“So let us hear from you”: JP to Ed and Wally Strautin, Aug. 25, 1944, Catalogue Raisonné, p. 234.
149.
“I inveigled Jackson”: telephone conversation with Reuben Kadish, 1985.
150.
“general whirling figures”: J.W.L., “Passing Shows,” Art News, Jan. 15, 1942, p. 29.
150.
went in at night: Grippe interview.
150.
“Jackson wasn’t very serious”: telephone interview with Theodore Wahl, 1984.
152.
“veil the image”: see Rubin, “Pollock as Jungian Illustrator,” pp. 83–4.
153.
“People said it just went on and on”: interview with Clement Greenberg, Dec. 1983.
153.
“match the French”: ibid.
154.
“the strongest painter of his generation”: Clement Greenberg, “Art,” The Nation, April 7, 1945.
154.
“I really don’t get”: Maude Riley, Art Digest, April 1, 1945, p. 59.
154.
“baked macaroni”: Parker Tyler, View (May 1945).
Chapter Ten: The Springs
155.
“this lovely person”: Jeffrey Potter, To a Violent Grave: An Oral Biography of Jackson Pollock (New York: Putnam, 1985), p. 81.
156.
“Leave New York?”: Joseph Liss, “Memories of Bonac Painters,” The East Hampton Star, Aug. 18, 1983, Sec. II, p. 1.
156.
“we have no money”: ibid.
157.
forty dollars: Barbara Rose, “American Great Lee Krasner,” Vogue, June 1972, p. 154.
157.
“Over my dead body”: interviews by Francine du Plessix and Cleve Gray, “Who Was Jackson Pollock?” Art in America (May 1967), p. 50.
157.
“it was the only way”: Peggy Guggenheim, Out of This Century: Confessions of an Art Addict (New York: Universe Books, 1979), p. 316.
158.
“a place to get a dog license”: Cindy Nemser, Art Talk (New York: Scribner’s, 1975), p. 87.
159.
“I got out the phone book”: interview with May Natalie Tabak Rosenberg, Dec. 1983.
159.
the second witness: marriage certificate, city clerk’s office, Borough of Manhattan.
160.
“No coal as yet”: card from JP to Ed and Wally Strautin, n.d., Catalogue Raisonné, Vol. 4, p. 236.
160.
“I opened the door this morning”: ibid.
160.
“we really love it here”: letter from JP to Louis Bunce, postmarked Jan. 5, 1946, Bunce papers, Archives of American Art.
161.
“He used to drink a lot”: interview with Mrs. Elywin Harris, Jan. 1984.
162.
“What may at first sight”: Clement Greenberg, “Art,” The Nation, April 13, 1946, p. 445.
163.
“Everyone is going or gone”: letter from JP to Louis Bunce, postmarked June 2, 1946, Bunce papers, Archives of American Art.
164.
“Jack would get pie-eyed”: interview with Jay Pollock, July 1983.
164.
“The work is endless”: letter from JP to Louis Bunce, postmarked June 2, 1946, Bunce papers, Archives of American Art.
165.
“pulled a ligament”: card from JP to Ed and Wally Strautin, postmarked June 2, 1946, Catalogue Raisonné, Vol. 4, p. 237.
166.
“one of the intellectual captains”: Saul Bellow, “What Kind of Day Did you Have,” (New York: Pocket Books, 1985); p. 88.
166.
“You will wait until I pull over”: Rosenberg interview.
167.
“go upstairs and take a nap”: ibid.
167.
“The movement of knife into shell”: John Bernard Myers, Tracking the Marvelous: A Life in the New York Art World (New York: Random House, 1983), p. 101.
169.
“That’s for Clem”: interview with Clement Greenberg, Dec. 1983.
169.
“Jackson Pollock’s fourth one-man show”: Clement Greenberg, “Art,” The Nation, Feb. 1, 1947, p. 137.
170.
Philip Rahv . . . felt Greenberg was overly dogmatic: William Barrett, The Truants: Adventures Among the Intellectuals (Garden City, NY: Anchor Press, Doubleday, 1982), p. 137.
170.
Delmore Schwartz . . . was suspicious: ibid., p. 152.
170.
“Give the winner an easel painting”: ibid., p. 147.
171.
“most powerful painter in America”: “The Best?” Time, Dec. 1, 1947, p. 55.
171.
“Very much an artist”: letter from Benton to John Simon Guggenheim Memorial Foundation, Nov. 14, 1947, Foundation files.
171.
“Creative painting”: fellowship application form, John Simon Guggenheim Memorial Foundation, Oct. 14, 1947, Foundation files.
Chapter Eleven: “Grand Feeling When It Happens”
172.
offering the college a Braque:
Jacqueline Bograd Weld, Peggy: The Wayward Guggenheim (New York: Dutton, 1986), p. 327.
173.
“I’m better than all the fucking painters”: telephone interview with Joyce Kootz, the art dealer’s widow, 1985.
173.
Steinberg once drew a portrait: Calvin Tompkins, “Profiles: A Keeper of the Treasure,” The New Yorker, June 9, 1975, p. 46. See also, Calvin Tompkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (New York: Penguin, 1981), p. 57.
174.
“dumped in my lap”: Ken Kelley, “Betty Parsons Taught America to Appreciate What It Once Called ‘Trash’: Abstract Art,” People, Feb. 27, 1978, p. 78.
174.
“a place where art goes on”: Clement Greenberg, Ten Years, exhibition catalogue (New York: Betty Parsons Gallery, 1956). Quoted in Tompkins, Off the Wall, p. 58.
175.
“tragedy, ecstasy, doom, and so on”: Selden Rodman, Conversations with Artists (New York: Devin-Adaro, 1957), p. 93.
175.
“awful” or “terrible”: interviews by Francine du Plessix and Cleve Gray, “Who Was Jackson Pollock?” Art in America (May 1967), p. 55.
175.
“he wasn’t the sort of artist”: interview with Herbert Ferber, March 1984.
175.
“I can’t tell you that”: ibid.
175.
“risky and unfeeling act”: “Personal Statement,” Tiger’s Eye (Dec. 1947), p. 44.
176.
“self contained and sustained advertising concern”: letter from Rothko to Newman, June 24, 1947, Newman papers, Archives of American Art.
176.
“Jackson doesn’t need”: telephone conversation with Annalee Newman, the artist’s widow, October 1984.
177.
“sullen, intense, miserable”: Du Plessix and Gray, p. 53.
177.
“always telling me the local news”: ibid., pp. 53–54.
177.
“There was a desperation about him”: ibid., p. 55.
178.
“just now getting into painting again”: letter from JP to Louis Bunce, postmarked Aug. 29, 1947, Bunce papers, Archives of American Art.
178.
“Every so often”: Rudi Blesh, Modern Art U.S.A.: Men, Rebellion, Conquest, 1900–56 (New York: Knopf, 1956), p. 253.
178.
The term was originated by William Rubin: see William Rubin, “Jackson Pollock and the Modern Tradition: Part One,” Artforum (Feb. 1967), p. 19.
179.
“poured, poured, not dripped”: Jeffrey Schaire, “Was Jackson Pollock Any Good?” Art & Antiques (Oct. 1984), p. 85.
180.
“I don’t have any theories”: JP to Life. A transcript of the interview is in the Time, Inc. archive.
182.
“a lot of swell painting this year”: letter from Stella Pollock to Frank Pollock, Dec. 11, 1947, Catalogue Raisonné, Vol. 4, p. 241.
182.
only one sold: sales records of the Betty Parsons Gallery, Parsons papers, Archives of American Art.
182.
“pick any one you want”: Ferber interview.
182.
“Since Mondrian”: Clement Greenberg, “Art,” The Nation, Jan. 24, 1948, p. 108.
183.
“a good deal of poetic suggestion”: Robert M. Coates, “The Art Galleries,” The New Yorker, Jan. 17, 1948, p. 57.
183.
“beautiful astronomical effects”: unsigned review, Art News (Feb. 1948), p. 59.
183.
“colorful and exciting”: Alonso Lansford, “Automatic Pollock,” Art Digest, Jan. 15, 1948.
183.
“I am very worried”: letter from Betty Parsons to Peggy Guggenheim, Feb. 26, 1947. A copy of this letter is in the Parsons papers, Archives of American Art.
183.
“I am still very worried”: letter from Betty Parsons to Peggy Guggenheim, April 5, 1948. A copy of this letter is in the Parsons papers, Archives of American Art.
185.
“A Maryland horse farm”: Du Plessix and Gray, p. 52.
185.
“reckless with tools”: Jeffrey Potter, To a Violent Grave: An Oral Biography of Jackson Pollock (New York: Putnam, 1985), p. 104.
186.
“Wilfredo doesn’t speak any English”: interview with Elisabeth Ross Zogbaum, Dec. 1983.
186.
“a new European country”: Peggy Guggenheim, Out of This Century: Confessions of an Art Addict (New York: Universe Books, 1979), p. 329.
186.
“I am glad you took on Pollock”: letter from Peggy Guggenheim to Betty Parsons, Oct. 8, 1949, Parsons papers, Archives of American Art.
186.
“experimental meanderings”: Aline B. Louchheim, “ ‘Modern’ or ‘Contemporary’—Words or Meanings?” The New York Times, Feb. 22, 1948, Sec. II, p. 8.
187.
“strange art of today”: “A Life Round Table on Modern Art,” Life, Oct. 11, 1948, p. 56.
187.
“Have had fairly good response”: letter from JP to Louis Bunce, postmarked June 2, 1946, Bunce papers, Archives of American Art.
189.
“adding to the confusion”: “Unframed Space,” The New Yorker, Aug. 5, 1950, p. 16.
189.
“there was no drinking”: letter from Stella Pollock to Charles Pollock, Jan. 10, 1949, Catalogue Raisonné, Vol. 4, p. 243.
189.
“He is an honest man”: Du Plessix and Gray, p. 48.
190.
“The Dr. doesn’t give him anything”: letter of Jan. 10, 1949.
190.
“My husband didn’t believe”: telephone interview with Mrs. Edwin Heller, the doctor’s widow, Jan. 1984.
190.
“quieted any doubts”: Clement Greenberg, “Art,” The Nation, Feb. 19, 1949, p. 221.
190.
“tangled hair”: Emily Genauer, New York World-Telegram, Feb. 7, 1949.
191.
“advanced stage of disintegration”: Sam Hunter, “Among the Shows,” The New York Times, Jan. 30, 1949.
191.
“the museum never knew”: Grace Glueck, “Scenes from a Marriage: Krasner and Pollock,” Art News, Dec. 1981, p. 60.
Chapter Twelve: “The Greatest Living Painter”
192.
Pollock offered to demonstrate: interview with Arnold Newman, Dec. 1984.
193.
“little bit short of cash”: ibid.
193.
“He talked”: interview with Dorothy Seiberling, Jan. 1984.
193.
“If you want to see a face”: JP to Life. The interview transcript is in the Time, Inc. archive.
193.
“JACKSON POLLOCK—Is he the greatest . . . ?”: Life, Aug. 8, 1949.
194.
“adjustment you have made”: letter from Dr. James Wall to JP, Aug. 23, 1949, Pollock Archive.
194.
“maybe it would seem exploitative”: interview with Rebecca Tarwater Hicks, May 1984.
194.
“completely understand”: The New Era (Deep River, Connecticut), Aug. 25, 1949.
194.
“movie cowboy Roy Rogers”: The Cody (Wyoming) Enterprise, Aug. 12, 1949.
194.
“made peace with themselves”: James Valliere, interview with Daniel T. Miller, Provincetown Review (Fall 1968), p. 36.
195.
“He couldn’t read the article while we were there”: James Brooks to James Valliere, Nov. 1965, Pollock Archive.
195.
“The Model A’s a good car”: Du Plessix and Gray, p. 53.
195.
“straight American boy”: ibid.
197.
“Don’t let an artist”: interview with Alfonso Ossorio, Jan. 1984.
197.
“very silent”: ibid.
198.
“more than ever repetitious”
: Carlyle Burrows, New York Herald Tribune, Nov. 27, 1949.
198.
“Late Work by Kandinsky”: Stuart Preston, “Late Work by Kandinsky Pollock, and Others,” The New York Times, Nov. 27, 1949, Sec. II, p. 12.
198.
“the best show he has ever had”: card from Stella Pollock to Frank Pollock, postmarked Dec. 22, 1949, Catalogue Raisonné, p. 246.
199.
“an insane dinner party”: letter from LK to Ossorio, n.d., Catalogue Raisonné, p. 247.
199.
“Terrific, terrific”: interview with Esteban Vicente, a friend and colleague of Pollock’s, April 1984.
200.
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