73
John Bernard Myers, Tracking the Marvelous, 171; Lynes, Good Old Modern, 20, 249; Marquis, Alfred H. Barr, Jr., 272–273.
74
Lynes, Good Old Modern, 43–44.
75
Lynes, Good Old Modern, 447; oral history interview with Lee Krasner, November 2, 1964– April 11, 1968, AAA-SI.
76
Landau, Lee Krasner: A Catalogue Raisonné, 302.
77
Lee Krasner, interview by Barbara Rose, 1972, AAA-SI, 1.
78
Lee Krasner, interview by Barbara Novak, AAA – SI, 11; Levin, Lee Krasner, 67; Lee Krasner, interview by Barbara Rose, 1972, AAA – SI, 1.
79
Terry Miller, Greenwich Village and How It Got That Way, 124.
80
Barbara Rose, Lee Krasner: The Long View, videotape courtesy PKHSC; Levin, Lee Krasner, 49; Deborah Solomon, Jackson Pollock, 112; John Lee Post, interview by author.
81
Naifeh and Smith, Jackson Pollock, 379; Lee Krasner, interview by Barbara Novak, videotape courtesy PKHSC; Lee Krasner, interview by Barbara Rose, 1972, AAA – SI, 1.
82
Lee Krasner, interview by Barbara Rose, 1972, AAA-SI, 1; Lee Krasner, interview by Barbara Novak, AAA-SI, 12; Levin, Lee Krasner, 75–76; Landau, Lee Krasner: A Catalogue Raisonné, 302; Robert Hobbs, Lee Krasner (1993), 17.
83
Levin, Lee Krasner, 75–76; oral history interview with Harold Rosenberg, AAA-SI; B. H. Friedman, Jackson Pollock: Energy Made Visible, 69.
84
Oral history interview with Ludwig Sandler, AAA-SI; Lee Krasner, interview by Barbara Novak, AAA-SI, 11–12; Marquis, Art Czar, 134; “Abstract Expressionism: A Tribute to Harold Rosenberg”, 9. Сол Беллоу сказал о Гарольде: «Я знал, что встретил самого значимого человека, который, однако, вел себя совсем не так, как ведут себя такие люди… [у него был] до абсурдного будничный взгляд на самого себя…»
85
“Abstract Expressionism: A Tribute to Harold Rosenberg”, 9; Sandler, A Sweeper Up After Artists, 182; Marquis, The Art Biz, 124.
86
Natalie Edgar, interview by author, January 20, 2014; Mark Stevens and Annalyn Swan, De Kooning, 222; Gruen, The Party’s Over Now, 172.
87
Lee Krasner, interview by Barbara Novak, AAA – SI, 12.
88
Chandler Brossard, ed., The Scene Before You, 20; Lionel Abel, The Intellectual Follies, 34–35; Howard Zinn, A People’s History of the United States, 386. По словам Зинна, Джон Кеннет Гэлбрейт обвинял в этом «нездоровые корпоративные и банковские структуры», «невыгодную внешнюю торговлю», «экономическую дезинформацию» и «неправильное распределение доходов». Зинн утверждает: «Пять процентов самых состоятельных людей получали около трети всех доходов населения».
89
Peter Clements, Prosperity, Depression and the New Deal, 101–3, 132; Mauritz A. Hallgren, Seeds of Revolt, 271; Isabel Leighton, ed., The Aspirin Age, 286.
90
Hallgren, Seeds of Revolt, 48, 53–54, 64–65, 81, 118, 154, 165, 169, 191; Ashton, The Life and Times of the New York School, 18–19, 54; oral history interview with George Wittenborn, AAA-SI; Terkel, Hard Times, 381–382; Barbara Blumberg, The New Deal and the Unemployed, 17–18; Dorfman, Out of the Picture, 13; Ashton, The Life and Times of the New York School, 54.
91
Giorgio Cavallon, interview by Jack Taylor; Abel, The Intellectual Follies, 36–37; Terkel, Hard Times, 34, 381. Эмпайр-стейт-билдинг в то время было самым высоким зданием в мире, а мост Джорджа Вашингтона – самым длинным подвесным мостом на Земле.
92
Stevens and Swan, De Kooning, 111; Abel, The Intellectual Follies, 34–35; Brossard, The Scene Before You, 20.
93
Terkel, Hard Times, 380.
94
Gerald M. Monroe, “Artists as Militant Trade Union Workers during the Great Depression”, 7.
95
Ross Wetzsteon, Republic of Dreams, 537; Elaine de Kooning and Slivka, Elaine de Kooning, 91.
96
Elaine de Kooning and Slivka, Elaine de Kooning, 92–93; Hayden Herrera, Arshile Gorky, 202–203; Giorgio Cavallon, interview by Jack Taylor.
97
Stevens and Swan, De Kooning, 96–97; Gruen, The Party’s Over Now, 263–64; Nouritza Matossian, Black Angel, 151, 209; Edgar, Club Without Walls, 30.
98
Oral history interview with Harold Rosenberg, AAA-SI.
99
Oral history interview with Irving Block, AAA-SI.
100
Oral history interview with Harold Rosenberg, AAA-SI; Elaine Owens O’Brien, “The Art Criticism of Harold Rosenberg: Theaters of Love and Combat”, 204–5.
101
Naifeh and Smith, Jackson Pollock, 379–380; Potter, To a Violent Grave, 64.
102
May