Hadley Haden Guest, ed., The Collected Poems of Barbara Guest, 9.
Stevens and Swan, De Kooning, 382–383.
Grace Hartigan, Notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse.
Dr. Guy Fried, telephone interview by author.
Grace Hartigan, Notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse; Stevens and Swan, De Kooning, 384–385.
Grace Hartigan, Notes for Elaine de Kooning memorial, May 12, 1990, Box 9, Grace Hartigan Papers, Syracuse; Stevens and Swan, De Kooning, 385.
Clay Fried, interview by author.
Ernestine Lassaw, interview by author.
Stevens and Swan, De Kooning, 385; Hall, Elaine and Bill, 243.
Clay Fried, interview by author.
Stevens and Swan, De Kooning, 383.
Stevens and Swan, De Kooning, 383–384.
Maud Fried Goodnight, telephone interview by author; Hess, Willem de Kooning (1968), 101.
Hall, Elaine and Bill, 100; Ernestine Lassaw, interview by author.
Chancey, “Elaine de Kooning”, 106; Elaine de Kooning, C. F. S. Hancock Lecture, 3.
Art Barge – Artists Speak, with Elaine de Kooning, videotape courtesy LTV, Inc.
Elaine de Kooning, C. F. S. Hancock Lecture, 3.
Elaine de Kooning, C. F. S. Hancock Lecture, 2.
Elaine de Kooning, interview by Molly Barnes, 3.
Elaine de Kooning, C. F. S. Hancock Lecture, 2.
Oral history interview with Helen Frankenthaler, AAA-SI.
Clement Greenberg Diary Entry February 3, 1956, Friday, Greenberg Journal, Black Journal 18, 1.1.14, Clement Greenberg Papers, GRI (950085).
Oral history interview with Elaine de Kooning, AAA-SI; James E. B. Breslin, Mark Rothko, 386–387.
Wetzsteon, Republic of Dreams, 538–539; oral history interview with Elaine de Kooning, AAA-SI.
Ashton, The New York School, 199; oral history interview with Sally Avery, AAA-SI; Stahr, “The Social Relations of Abstract Expressionism”, 120.
Oral history interview with Elaine de Kooning, AAA-SI.
Oral history interview with Elaine de Kooning, AAA-SI; Breslin, Mark Rothko, 387.
Elaine de Kooning, “Two Americans in Action”, 176.
Elaine de Kooning, “Two Americans in Action”, 177.
Elaine de Kooning, “Two Americans in Action”, 177.
Stevens and Swan, De Kooning, 386.
Hess, Willem de Kooning (1968), 100.
Движение за благоразумие в искусстве, боровшееся с абстракцией, кубизмом и так далее. Прим. перев.
Stevens and Swan, De Kooning, 387; Hess, Willem de Kooning (1968), 100.
Hess, Willem de Kooning (1968), 100; Thomas B. Hess, interview by Mitch Tuchman, AAA-SI, 19.
Thomas B. Hess, interview by Mitch Tuchman, AAA-SI, 20.
Abstract Expressionists, 1956, warholartstars.org; Naifeh and Smith, Jackson Pollock, 765, 777; Robson, “The Market for Abstract Expressionism”, 20; Marquis, The Art Biz, 244.
Deborah Daw, “Lee Krasner, On Climbing a Mountain of Porcelain”, Series 2, Subseries 4, Box 10, Folder 9, Lee Krasner Papers, AAA-SI, 23.
Van Horne, A Complicated Marriage, 133.
Van Horne, A Complicated Marriage, 133.
Van Horne, A Complicated Marriage, 133, 134.
Van Horne, A Complicated Marriage, 133.
Van Horne, A Complicated Marriage, 133, 135.
Van Horne, A Complicated Marriage, 133, 134.
Solomon, Jackson Pollock, 245; Hobbs, Lee Krasner (1999), 14.
Van Horne, A Complicated Marriage, 134.
Solomon, Jackson Pollock, 245.
Landau, Lee Krasner: A Catalogue Raisonné, 311; Naifeh and Smith, Jackson Pollock, 768–769.
Naifeh and Smith, Jackson Pollock, 767.
Naifeh and Smith, Jackson Pollock, 767.
Naifeh and Smith, Jackson Pollock, 769.
Potter, To a Violent Grave, 210.
Potter, To a Violent Grave, 228.
Potter, To a Violent Grave, 228.
Ruth Kligman, Love Affair, 15. Она считала лимузин атрибутом обязательным.
Potter, To a Violent Grave, 228.
Oral history interview with Audrey Flack, AAA-SI; Potter, To a Violent Grave, 228; Kligman, Love Affair, 26.
Kligman, Love Affair, 25; Van Horne, A Complicated Marriage, 77.
Van Horne, A Complicated Marriage, 77; Kligman, Love Affair, 29.
Kligman, Love Affair, 26–28.
Kligman, Love Affair, 29.
Dawson, An Emotional Memoir of Franz Kline, 81.
Kligman, Love Affair, 29.
Kligman, Love Affair, 29–30.
Kligman, Love Affair, 30–31.
Naifeh and Smith, Jackson Pollock, 777–778.
Corlett, “Jackson Pollock: American Culture, the Media and the Myth”, 95, 97.
Potter, To a Violent Grave, 228.
Levin, Lee Krasner, 307.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 3.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 2, 3, 6.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 2, 5.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 3–4.
Albert E. Elsen, Paul Jenkins, 37, courtesy Suzanne D. Jenkins.
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.
Solomon, Jackson Pollock, 244.
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 75.
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 76–78.
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 76–77.
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».
“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.
Letter from prison inmate to Grace Hartigan, c/o Dorothy Miller, Twelve Americans Show, Dorothy C. Miller Papers, I.9.b, MOMA.
Szarkowski and Elderfield, The Museum of Modern Art at Mid-Century, 77.
“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.
“Month in Review, In the Galleries”, Arts 30, no. 9 (June 1956): 49.
Albers, Joan Mitchell, 237.
De Coppet and Jones, The Art Dealers, 85–86; Philip Guston, interview by Jack Taylor.
Albers, Joan Mitchell, 237.
“Month in Review, In the Galleries”, Arts 30, no. 9 (June 1956): 50.
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.
Moutet, “An American in Paris”, 74.
Bair, Samuel Beckett, 488.
Bair, Samuel Beckett, 488.
Albers, Joan Mitchell, 239.
Helen Frankenthaler to Sonya Gutman, February 25, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
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.
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.
Helen Frankenthaler to Sonya Gutman, October 30, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 3.
Barbara Guest, Diary 1956, March 14 entry, Uncat Za MS 271, Box 26, Barbara Guest Papers, Yale.
Helen Frankenthaler to Sonya Gutman, Tuesday evening April 17, 1956, Box 1, Folder 8, Sonya Rudikoff Papers, 1935–2000, Princeton, 1.
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.
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.
Naifeh and Smith, Jackson Pollock, 779.
Dorfman, Out of the Picture, 61; oral history interview with Dorothy C. Miller, AAA-SI.
Potter, To a Violent Grave, 230–231.
Friedman, Energy Made Visible, 232–233.
Hobbs, Lee Krasner (1999), 14; Rubenfeld, Clement Greenberg, 200.
Potter, To a Violent Grave, 232.
Ernestine Lassaw, interview by author.
Kligman, Love Affair, 72, 79.
Naifeh and Smith, Jackson Pollock, 778–779.
Dorfman, Out of the Picture, 61.
Potter, To a Violent Grave, 223.
Kligman, Love Affair, 83; Potter, To a Violent Grave, 230–232; Naifeh and Smith, Jackson Pollock, 780.
Kligman, Love Affair, 90; Naifeh and Smith, Jackson Pollock, 780.
Oral history interview with Lee Krasner, November 2, 1964 April 11, 1968, AAA-SI; Levin, Lee Krasner, 305.
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.
Kligman, Love Affair, 89–90, 92.
Kligman, Love Affair, 95–96.
Kligman, Love Affair, 96.
Van Horne, A Complicated Marriage, 76; Rubenfeld, Clement Greenberg, 200.
Solomon, Jackson Pollock, 247; Naifeh and Smith, Jackson Pollock, 782.
Potter, To a Violent Grave, 233; Naifeh and Smith, Jackson Pollock, 782.
Potter, To a Violent Grave, 250; Kligman, Love Affair, 98.
Friedman, Give My Regards to Eighth Street, 103.
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.
Wallach, “Lee Krasner’s Triumph”, 501; Rose, Lee Krasner: The Long View, videotape courtesy PKHSC.
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).
Lee Krasner to Jackson Pollock, Saturday July 21, 1956, from Paris to East Hampton, Jackson Pollock Papers, Box 1, Folder 46, AAA-SI.
Lee Krasner to Jackson Pollock, Saturday July 21, 1956, from Paris to East Hampton, Jackson Pollock Papers, Box 1, Folder 46, AAA-SI.
Helen Frankenthaler to Barbara Guest, n.d. 1956, Venice, Italy, to New York, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
Larry Rivers to Frank O’Hara, June 25, 1956, Larry Rivers Papers, MSS 293, Series I, Subseries A, Box 11, Folder 9, NYU.
Helen Frankenthaler to Barbara Guest, n.d. 1956, Venice, Italy, to New York, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
Helen Frankenthaler to Barbara Guest, July 23, 1956, Paris to Long Island, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
Lee Krasner to Jackson Pollock, 1956, postcard from Paris to East Hampton, Jackson Pollock Papers, Series 1, Box 1, Folder 46, AAA-SI.
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.
Lee Krasner to Jackson Pollock, n.d. [1956], postcard Menerbes to East Hampton, Jackson Pollock Papers, Series 1, Box 1, Folder 46, AAA-SI.
Lee Pollock to Mr. and Mrs. Clement Greenberg, n.d. [1956], postcard Menerbes to East Hampton, Clement Greenberg Papers, 1937–1983, AAA-SI.
Guggenheim, Out of This Century, 336, 346–347.
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.
Rose, Lee Krasner, 98.
Levin, Lee Krasner, 315.
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.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 11; Solomon, Jackson Pollock, 248.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 12.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
Naifeh and Smith, Jackson Pollock, 783-84.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13–14.
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.
Suzanne D. Jenkins, interview by author; Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
Helen Frankenthaler to Barbara Guest, July 23, 1956, Uncat ZA MS 271, Box 16, Barbara Guest Papers, Yale.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
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.
Paul Jenkins to Clement Greenberg, August 15, 1956, Series 3, Box 3, Folder 15, Clement Greenberg Papers, 1937–1983, AAA-SI.
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.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins, 13.
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.
Paul Jenkins, interview by Deborah Solomon, transcript courtesy of Suzanne D. Jenkins, © Estate of Paul Jenkins,13.
Dawson, An Emotional Memoir of Franz Kline, 88.
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.
Friedman, Energy Made Visible, 248–249; Potter, To a Violent Grave, 252–253.
Friedman, Energy Made Visible, 248; Potter, To a Violent Grave, 252–253.
Potter, To a Violent Grave, 228.
Van Horne, A Complicated Marriage, 78; Potter, To a Violent Grave, 228.
Potter, To a Violent Grave, 232–239.
Naifeh and Smith, Jackson Pollock, 783, 785.
Kligman, Love Affair, 127.
Friedman, Energy Made Visible, 235; Kligman, Love Affair, 166.
Naifeh and Smith, Jackson Pollock, 784.
Van Horne, A Complicated Marriage, 79.
Potter, To a Violent Grave, 235–136.
Naifeh and Smith, Jackson Pollock, 786; Kligman, Love Affair, 171.