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сразу же взяла в свою галерею Ротко, Ньюмана и Стилла. См.: Steven Naifeh and Gregory White Smith, Jackson Pollock: An American Saga (New York: C. N. Potter, 1989), 545.
15
Hall, Betty Parsons, 77.
16
Биограф Дебора Соломон пишет, что этот случай, скорее всего, был единичным. См.: Deborah Solomon, Jackson Pollock: A Biography (New York: Simon & Schuster, 1987), 127–128.
17
B. H. Friedman, Jackson Pollock: Energy Made Visible (New York: McGraw-Hill, 1972), 180.
18
Dore Ashton, “Artists and Dealers,” in A History of the Western Art Market: A Sourcebook of Writings on Artists, Dealers, and Markets, ed. Titia Hulst (Oakland: University of California Press, 2017), 317.
19
Гуггенхайм прекратила выплачивать пособие в 1948 году. “No Limits, Just Edges: Jackson Pollock Paintings on Paper,” Guggenheim Museum, www.guggenheim.org/exhibition/no-limits-just-edges-jackson-pollock-paintings-on-paper.
20
Philip Hook, Rogues’ Gallery: The Rise (and Occasional Fall) of Art Dealers, the Hidden Players in the History of Art (New York: Experiment, 2017), 239.
21
Этот эпизод относится к декабрю 1947 года. См.: Harold Rosenberg, Barnett Newman (New York: Abrams, 1978), 234.
22
Ann Temkin, Barnett Newman (Philadelphia: Philadelphia Museum of Art, 2002), 158.
23
Цит. по: James E. B. Breslin, Mark Rothko: A Biography (Chicago: University of Chicago Press, 1993), 251, 335.
24
Solomon, Jackson Pollock, 177–178.
25
См.: Mary V. Dearborn, Ernest Hemingway: A Biography (New York: Knopf, 2017), 691.
26
См.: Robert Motherwell, “The School of New York,” manifesto, January 1, 1951, transcribed by Smithsonian Digital Volunteers, Archives of American Art, Smithsonian Institution.
27
Термин «живопись действия» первым ввел Гарольд Розенберг. См.: Harold Rosenberg, “The American Action Painters,” ARTnews, December 1952, 22.
28
“Colour Field Painting,” Tate, www.tate.org.uk/art/art-terms/c/colour-field-painting.
29
William Grimes, “Grace Hartigan, 86, Abstract Painter, Dies,” New York Times, November 18, 2008, www.nytimes.com/2008/11/18/arts/design/18hartigan.html.
30
Mark Stevens and Annalyn Swan, De Kooning: An American Master (New York: Knopf, 2004), 209.
31
Ibid., 251.
32
Ibid., 271.
33
Hall, Betty Parsons, 20.
34
Ibid., 178.
35
Ibid., 41.
36
Ibid., 54.
37
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/.
38
Hall, Betty Parsons, 61.
39
Ibid., 72.
40
Ibid., 81.
41
“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.
42
Patricia Albers, Joan Mitchell: Lady Painter (New York: Knopf, 2011), 139.
43
Hall, Betty Parsons, 94–95.
44
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.
45
Hall, Betty Parsons, 102.
46
“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/.
47
Breslin, Mark Rothko, 335.
48
Interview with Sidney Janis, October 15–November 18, 1981, Archives of American Art, Smithsonian Institution.
49
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.
50
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.
51
“Sidney