Майкл Шнейерсон - Бум. Бешеные деньги, мегасделки и взлет современного искусства

Ann Temkin, Barnett Newman (Philadelphia: Philadelphia Museum of Art, 2002), 158.

Цит. по: James E. B. Breslin, Mark Rothko: A Biography (Chicago: University of Chicago Press, 1993), 251, 335.

Solomon, Jackson Pollock , 177–178.

См.: Mary V. Dearborn, Ernest Hemingway: A Biography (New York: Knopf, 2017), 691.

См.: Robert Motherwell, “The School of New York,” manifesto, January 1, 1951, transcribed by Smithsonian Digital Volunteers, Archives of American Art, Smithsonian Institution.

Термин «живопись действия» первым ввел Гарольд Розенберг. См.: Harold Rosenberg, “The American Action Painters,” ARTnews , December 1952, 22.

“Colour Field Painting,” Tate, www.tate.org.uk/art/art-terms/c/colour-field-painting.

William Grimes, “Grace Hartigan, 86, Abstract Painter, Dies,” New York Times , November 18, 2008, www.nytimes.com/2008/11/18/arts/design/18hartigan.html.

Mark Stevens and Annalyn Swan, De Kooning: An American Master (New York: Knopf, 2004), 209.

Ibid., 251.

Ibid., 271.

Hall, Betty Parsons , 20.

Ibid., 178.

Ibid., 41.

Ibid., 54.

John Yau, “The Legendary Betty Parsons Meets the Not-So-Legendary Betty Parsons,” Hyperallergic , July 9, 2017, https://hyperallergic.com/389386/betty-parsons-invisible-presence-alexander-gray-associates-2017/.

Hall, Betty Parsons , 61.

Ibid., 72.

Ibid., 81.

“Jackson Pollock,” Collection Online, Guggenheim Museum, www.guggenheim.org/artwork/artist/jackson-pollock; “The Post-War Period, 1948–1973,” La Biennale di Venezia, www.labiennale.org/en/history/post-war-period-and-60s; “History, 1985–2018,” La Biennale di Venezia, www.labiennale.org/en/history.

Patricia Albers, Joan Mitchell: Lady Painter (New York: Knopf, 2011), 139.

Hall, Betty Parsons , 94–95.

Artspace Editors, “Dealer Betty Parsons Pioneered Male Abstract Expressionists – But Who Were the Unrecognized Women Artists She Exhibited?” Artspace , April 3, 2017, www.artspace.com/magazine/interviews_features/book_report/dealer-betty-parsons-pioneered-male-abstract-expressionistsbut-who-were-the-unrecognized-women-54682.

Hall, Betty Parsons , 102.

“Chronology,” Barnett Newman Foundation, www.barnettnewman.org/artist/chronology; Hilarie M. Sheets, “Clyfford Still, Unpacked,” Art in America , November 1, 2011, www.artinamericamagazine.com/news-features/magazine/clyfford-still-unpacked/.

Breslin, Mark Rothko , 335.

Interview with Sidney Janis, October 15–November 18, 1981, Archives of American Art, Smithsonian Institution.

Clayton Press, “Motherwell to Hofmann: The Samuel Kootz Gallery, 1945–1966 at Neuberger Museum of Art, Purchase, NY,” Forbes , February 18, 2018, www.forbes.com/sites/claytonpress/2018/02/18/motherwell-to-hofmann-the-samuel-kootz-gallery-1945-1966-at-neuberger-museum-of-art-purchase-ny/#30a553e443c0.

Hall, Betty Parsons , 102; Jennifer Farrell et al., The History and Legacy of Samuel M. Kootz and the Kootz Gallery (Charlottesville: Fralin Museum of Art at the University of Virginia, 2017), 78.

“Sidney Janis Gallery,” Archives Directory for the History of Collecting in America, Frick Collection, http://research.frick.org/directoryweb/browserecord.php? – action=browse&-recid=6222.

Interview with Sidney Janis, October 15 – November 18, 1981, Archives of American Art, Smithsonian Institution.

Laura De Coppet and Alan Jones, The Art Dealers (New York: Cooper Square Press, 2002), 37.

Willem de Kooning, Excavation , 1950, oil on canvas, 205.7 x 254.6 cm, Art Institute Chicago, www.artic.edu/aic/collections/artwork/76244.

Barbara Hess and Willem de Kooning, Willem de Kooning, 1904–1997: Content as a Glimpse (Cologne: Taschen, 2004), 42.

“Willem de Kooning,” Art Bios, March 8, 2011, https://artbios.net/3-en.html.

Ben Heller, interview by Avis Berman, Museum of Modern Art Oral History Program, April 18, 2001, 5.

Ibid., 26.

Ibid., 5; Jed Perl, “The Opportunist,” New Republic , October 20, 2010, https://newrepublic.com/article/78555/the-opportunist-leo-castelli-art.

Perl, “The Opportunist.”

Ben Heller, interview by Avis Berman, Museum of Modern Art Oral History Program, April 18, 2001, 5.

Jackson Pollock, One: Number 31, 1950 , 1950, oil and enamel paint on canvas, 8’ 10” × 17’ 5 5/8» (269.5 × 530.8 cm), Museum of Modern Art, New York, www.moma.org/collection/works/78386.

Naifeh and Smith, Jackson Pollock: An American Saga , 765.

Ibid. По словам Бадда Хопкинса, этот подарок был сделан «в знак признательности за его [Хеллера] преданность творчеству Поллока». См. также: Friedman, Jackson Pollock: Energy Made Visible , 199.

Laurie Gwen Shapiro, “An Eye-Popping Mid-Century Apartment Filled with Pollocks, Klines, and De Koonings,” New York , October 27, 2017, www.thecut.com/2017/10/ben-hellers-mid-century-nyc-apartment.html.

В английском варианте название картины «Обмен» («Смешение») иногда указывают как Interchange , однако корректным является написание Interchanged (1955). См.: John Elderfield, De Kooning: A Retrospective (New York: Museum of Modern Art, 2012), 32.

Закон США, по которому лицам, служившим на фронте во время Второй мировой войны, выделялись стипендии для получения образования и предоставлялись другие льготы. – Примеч. переводчика.

Hall, Betty Parsons , 94–95, 180; Holland Cotter, “Ellsworth Kelly, Who Shaped Geometries on a Bold Scale, Dies at 92,” New York Times , December 27, 2015, www.nytimes.com/2015/12/28/arts/ellsworth-kelly-artist-who-mixed-european-abstraction-into-everyday-life-dies-at-92.html; John Russell, “Art: Jack Youngerman at the Guggenheim,” New York Times , March 7, 1986, www.nytimes.com/1986/03/07/arts/art-jack-youngerman-at-the-guggenheim.html?pagewanted=all; “Ellsworth Kelly: Biography,” Hollis Taggart, 2017, www.hollistaggart.com/artists/ellsworth-kelly.