18Michael Ayrton on Freud and Minton, ‘Some Young British Contemporary Painters’, Orion III (London: Nicholson & Watson, 1946), p. 87. ‘Whilst not British in origin, he [Freud] may be said to be of the “School of London”.’
19Independent, 7 September 1994.
20Millar, Isabel and the Sea, p. 379.
21Ibid., p. 381.
22Ibid., p. 364.
23Nanos Valaoritis, ‘Modern Greek Poetry’, Horizon, March 1946.
24Millar, Isabel and the Sea, p. 371.
25Ibid., pp. 393–4.
26LF letter to Felicity Hellaby (private collection).
27Grigson, John Craxton: Paintings and Drawings.
14: ‘FREE SPIRITS LIKE ME’
1Cressida Connolly, The Rare and the Beautiful: The Lives of the Garmans (London: Fourth Estate, 2004), p. 216.
2W. H. Auden, ‘Death’s Echo’ (1936).
3Kenneth Tynan, Diaries, ed. John Lahr (London: Bloomsbury, 2002), 12 April 1971, p. 40.
4Annie Freud, conversation with the author, 29 May 2012.
5Kenneth Clark in Epstein Centenary catalogue, Ben Uri Gallery, London, p. 3.
6Kenneth Clark, Henry Moore Drawings (London: Thames & Hudson, 1974), p. 114.
7Jacob Epstein, letter to LF, n.d. [1949], private collection.
8Dilys Powell, review of The Blue Lamp, Sunday Times, January 1950, reprinted in Shots in the Dark (London: Allan Wingate, 1951), p. 127.
9Waldemar Hansen, letter to John Myers, 4 May 1947, private collection.
10Michael Hamburger, letter to the author, 5 December 2000.
11June Rose, Time, 26 May 1947.
12Bernard Denvir, ‘Wilfred Evill’, Studio, February 1949, p. 44.
13Kitty Garman, letter to Kathleen (Epstein), July 1947, Walsall Art Gallery Archives.
14Ibid.
15LF letter to Meraud Guinness, Tate Archive.
16LF letter to Meraud Guinness, Tate Archive.
17LF letter to Meraud Guinness, Tate Archive.
18Herbert Read, Introduction, Exposition de la Jeune Peinture en Grande Bretagne, British Council/La Galerie René Drouin, 23 January–21 February 1948.
19Robin Ironside, Painting since 1939 (London: British Council, 1947), p. 36.
20Studio, December 1947.
21Bernard Denvir, Tribune, November 1947.
22Maurice Collis, Time & Tide, November 1947.
23Frank Auerbach, conversation with the author, 2013.
24Kitty Garman, conversation with the author, 17 February 2000.
25Nanos Valaoritis, ‘Problems of an Empire’, Botteghe Oscure, no. 20, 1957, pp. 435–6.
15: ‘ME WITH HORNS’
1LF to Felicity Hellaby, n.d. [1947] (private collection).
2Felicity Hellaby, conversation with the author, 19 February 2012.
3Richard Buckle, The Adventures of a Ballet Critic (London: Cresset Press, 1953), p. 133.
4A. L. Lloyd, ‘An Artist Makes a Living’, Picture Post, 21 December 1946, pp. 22–4.
5Collotypes of Girl in a White Dress and Chicken on a Table were published in Oliver Simon’s Signature 10 (London: Curwen Press, 1950).
6William Sansom, Equilibriad (London: Hogarth Press, 1948), p. 17.
7Kitty Epstein (Godley), conversation with the author, 2000.
16: ‘FED SWEETS BY NUNS ON THE COACH TO GALWAY’
1Cited in Roger Berthoud, Graham Sutherland: A Biography (London: Faber & Faber, 1982), p. 247.
2Douglas Cooper, conversation with the author, BBC Radio 3, 6 July 1983.
3Graham Sutherland, letter to Robert Melville, November 1948, Robert Melville papers, Tate Archive.
4Cecil Beaton on Bérard, from Ballet magazine, quoted in Christian Bérard, exhibition brochure (London: Arts Council, 1950).
5Lucian Freud: Portraits (2004), film directed by Jake Auerbach, produced by Jake Auerbach and William Feaver.
6Anne Dunn, conversation with the author, 16 April 2000.
7Anne Dunn, letter to LF, n.d., from Zetland Hotel Galway, private collection.
8Anne Dunn, conversation with the author, 16 April 2000.
9Ibid.
10Ibid.
11Ibid.
12Ibid.
13Samuel Beckett, ‘Homage to Jack Yeats’ (1954), reprinted in Disjecta (London: John Calder, 1983), p. 148. ‘Strangeness so entire as even to withstand the stock assimilations to holy patrimony’.
14Later collected in After the Wake, ‘twenty-one prose works including previously unpublished material’ (Dublin: O’Brien Press, 1981).
15William Townsend, Journals: An Artist’s Record of His Times, 1928–51, ed. Andrew Forge (London: Tate Publishing, 1976), p. 82.
16Ibid., p. 88.
17Anne Dunn, conversation with the author, 16 April 2000.
18Beaton, quoted in Christian Bérard.
19Christian Bérard, reported by LF.
20Anne Dunn, conversation with the author, 16 April 2000.
21Ibid.
22Ibid. Derek Jackson, 1906–82: one-time chairman of the News of the World, six marriages, two of which were to the femme fatale Barbara Skelton and Janetta Woolley.
23Ibid.
24Ibid.
25Ibid.
26Frank Auerbach, conversation with the author, April 2010.
27Ibid.
17: ‘MY LARGE ROOM IN PADDINGTON!’
1Balthus, quoted in Jean Clair, Balthus (London: Thames & Hudson, 2001), p. 131.
2Balthus, interview by David Bowie, Modern Painters, vol. 7, no. 3, 1994, p. 194.
3Cyril Connolly, ‘Comment’, Horizon, November 1947, p. 227.
4Robin Ironside, ‘Balthus’, Horizon, April 1948, p. 266.
5Lawrence Gowing, Introduction to William Coldstream catalogue (London: Arts Council, 1962), p. 12.
6Geoffrey Grigson, ‘Remarks on Painting and Mr Auden’, New Verse, January 1939, p. 19.
7LF comment.
8William Coldstream, interview by Rodrigo Moynihan, ‘A Nonconformist’, Art and Literature, 4, 1965, p. 208.
9BBC Third Programme, reprinted in the Listener, 5 February 1947.
10Nicholas Garland, letter to the author, 17 March 2000.
11George Orwell, The English People (London: Collins, 1947), p. 8.
12Bill Brandt, Camera in London (London: Focal Press, 1948), p. 14.
13Stephen Spender, editorial, Horizon, July 1945.
14William Plomer, ‘Voyage autour de W2’, in John Sutro (ed.), Diversion: 22 Authors on the Lively Arts (London: Max Parrish, 1950), p. 211.
15Oscar Wilde, The Picture of Dorian Gray (1890), ch. 19.
16Anne Dunn, letter to the author, 9 March 2012.
17Frank Auerbach, conversation with the author.
18Colin MacInnes in Mark Haworth-Booth (ed.), The Street Photographs of Roger Mayne (London: Victoria & Albert Museum, 1986), p. 73.
19Cyril Connolly, ‘Comment’, Horizon, November 1948, p. 299.
20Michael Hamburger, conversation with the author, 11 December 2000.
21Anne Dunn, conversation with the author, 16 April 2000.
22Ibid.
18: ‘MY NIGHT’S ENTERTAINMENT’
1Percy Wyndham Lewis, Listener, 14 July 1949.
2Patrick Heron, New Statesman, 25 March and 29 April 1950.
3Wyndham Lewis, Listener, 17 November 1949, p. 860.
4The Comte de Lautréamont [Isidore Ducasse], ‘Midway’ Chant 6, The Lay of Maldoror, trans. John Rodker (London: Casanova Society, 1924).
5Frances Spalding, Dance till the Stars Come Down: A Biography of John Minton (London: Hodder & Stoughton, 1991), p. 149.
6Anne Dunn, conversation with the author, 16 April 2000.
7Heron, New Statesman, 29 April 1950.
8Spalding, Dance till the Stars Come Down, p. 149.
9William Townsend, The Townsend Journals: An Artist’s Record of His Times, 1928–51, ed. Andrew Forge (London: Tate Publishing, 1976), p. 88.
10Heron, New Statesman, 29 April 1950.
11‘Freud the Younger’, Flair, February 1952, pp. 32–3.
12Lincoln Kirstein, autobiographical notes, Quarry (privately printed, 1986), p. 107.
13Lincoln Kirstein letter [1953], British Council Archives.
14Anne Dunn, conversation with the author, 16 April 2000.
15LF quoting Cyril Connolly.
16Anne Dunn, conversation with the author, 16 April 2000.
17Ibid.
19: ‘BEING ABLE TO SEE UNDER THE CARPET’
1Charlie Lumley, letter to LF, n.d. [1950], private collection.
2Harry Diamond, conversation with the author, April 2003.
3Ibid.
4Albert Camus, ‘Absurd Creation’, The Myth of Sisyphus (1942) (London: Penguin, 1975), p. 87.
5George Orwell, Nineteen Eighty-Four (London: Penguin reissue, 1954), p. 176.
6Harry Diamond, conversation with the author, April 2003.
7Graham Sutherland, ‘Some Thoughts on Painting’, Listener, 6 September 1951.
8Albert Camus, The Outsider, trans. Joseph Laredo (London: Hamish Hamilton, 1946), part 2, ch. 2.
9David Sylvester, Burlington Magazine, October 1951, p. 329.
10Ibid.
11The Comte de Lautréamont [Isidore Ducasse], The Lay of Maldoror, trans. John Rodker (London: Casanova Society, 1924).
12Harry Diamond, conversation with the author, April 2003.
13LF Archives, NPG (National Portrait Gallery).
14Alice Keene, The Two Mr Smiths: The Life and Work of Sir Matthew Smith (London: Lund Humphries/Corporation of London 1995).
15William Blake, ‘Miscellaneous Epigrams’, XIV, The Poetry and Prose of William Blake (London: Nonesuch Press, 1948), p. 107.
16Annie Freud, conversation with the author, 29 May 2012.
20: ‘TRUE TO ME’
1Richard Hamilton, letter to the author, 12 January 1999.
2Ibid.
3Ibid.
4Ibid.
5Herbert Read, Art and Industry (London: Faber & Faber, 1934), Introduction.
6Richard Hamilton, letter to the author, 12 January 1999.
7Herbert Read, Contemporary British Art (London: Penguin Books, 1951), p. 25.
8Ibid., p. 35.
9Ernst Gombrich, Meditations on a Hobby Horse (London: Phaidon, 1963), part 2.
10Ibid., part 9.
11Francis Bacon, conversation with LF.
12Charlie Lumley, ‘I’m the Boy in Freud Painting’, by Louise Jury, Evening Standard, 1 September 2011.
13Letter from John Minton to Michael Wishart, quoted in Frances Spalding, Dance till the Stars Come Down: A Biography of John Minton (London: Hodder & Stoughton, 1991), p. 14.
14H. L. Hunter with Cecil Whiley, Leaves of Gold (London: George M. Whiley, 1951); this was a company history commissioned by George M. Whiley Ltd, goldbeaters of Covent Garden.
15Augustus John, ‘Fragment of an Autobiography’, Horizon, December 1945.
16Graham Sutherland, BBC Third Programme, reprinted in the Listener, 4 December 1951.
17Anne Dunn, conversation with the author, 16 April 2000.
18Ibid.
19T. S. Eliot, ‘Sweeney Erect’, Poems (New York: Alfred A. Knopf, 1920).
20Robert Melville, ‘Francis Bacon’, Horizon, December 1949, p. 421.
21Frank Auerbach, conversation with the author.
22Ibid.
23Richard Hamilton, letter to the author, 12 January 1999.
24A. J. Ayer, More of My Life (London: Collins, 1984), p. 79.
25Henry Green, Doting (London: Hogarth Press, 1952), p. 252.
26Michael Luke, David Tennant and the Gargoyle Years (London: Weidenfeld & Nicolson, 1991), p. 182.
27Andrée Melly, letter to LF [c. 1993], private archive.
28Henrietta Moraes, Henrietta (London: Hamish Hamilton, 1994), p. 31.
29Michael Hamburger, conversation with the author, 11 December 2000.
30William Empson, ‘This Last Pain’ (the last line reads ‘And learn a style from a despair’), Collected Poems (London: Chatto & Windus, 1956).
31John Berger, New Statesman, 5 January 1952.
32Francis Bacon in Matthew Smith: Paintings from 1909 to 1952 (London: Tate Gallery, 1953), p. 12.
33Ibid.
34David Sylvester, Listener, 8 May 1952.
35Michael Middleton, Spectator, May 1952.
36Robert Melville, art column in Architectural Review, May 1952.
21: ‘LADY DASHWOOD, SORRY TO HAVE KICKED YOU’
1Bruce Bernard and Derek Birdsall, Lucian Freud (London: Jonathan Cape, 1996), p. 13.
2Michael Middleton, John Minton catalogue (London: Arts Council, 1958), p. 7.
3Ibid.
4Peter Quennell (ed.), A Lonely Business: A Self-Portrait of James Pope-Hennessy (London: Weidenfeld & Nicolson, 1981), p. 88.
5Ann Fleming, The Letters of Ann Fleming, ed. Mark Amory (London: Collins, 1985), p. 123.
6Barbara Skelton, Tears Before Bedtime (London: Hamish Hamilton, 1987), p. 164.
7Ivana Lowell, ‘Lucian Freud – His Scandalous Private Life’, Newsweek, 8 July 2011.
8Anne Dunn, conversation with the author, 16 April 2000.
9Kitty Garman, postcard to LF, n.d. [1952].
10Lucie Freud, letter to Ernst Freud, Freud Museum Archive.
11Annie Freud, conversation with the author, 29 May 2012.
12Ibid.
13Jacob Epstein, letter to Peggy-Jean, his daughter, 17 January 1955, Tate Archive.
22: ‘A MARVELLOUS CHASE FEELING’
1Lucian Freud, letter to Ann Fleming, March 1953, The Letters of Ann Fleming, ed. Mark Amory (London: Collins, 1985), p. 125.
2Caroline Blackwood, letter to LF, private collection.
3Caroline Blackwood, letter to LF, n.d. [1953], from Ritz Hotel, Madrid, private collection.
4LF quoting Fleur Cowles.
5LF commenting.
6Ann Fleming to Evelyn Waugh, Letters of Ann Fleming, p. 129.
7Lucian Freud, ‘Some Thoughts on Painting’, Encounter, July 1954, p. 23.
8Cyril Connolly, Journal and Memoir, ed. David Pryce-Jones (London: Collins, 1983), p. 238.
9Michael Kimmelman, New York Times magazine, 2 April 1995; see also Lucian Freud: Early Works catalogue (New York: Robert Miller Gallery, 1993).
10Cecil Beaton, Self-Portrait with Friends: The Selected Diaries of Cecil Beaton, 1926–74, ed. Richard Buckle (London: Penguin Books, 1982), p. 273.
11Peter Quennell (ed.), A Lonely Business: A Self-Portrait of James Pope-Hennessy (London: Weidenfeld & Nicolson, 1981), 29 September 1953, p. 88.
12Caroline Blackwood, interview by Janet Watts, ‘The Man I Knew Is Missing’, Observer, 1 May 1983.
13LF letter to Lilian Somerville, 17 July 1953, British Council Archives.
14Ibid.
15Ibid.
16Barbara Skelton, Tears Before Bedtime (London: Hamish Hamilton, 1987), p. 135.
17Cecil Beaton, The Strenuous Years: Diaries, 1948–55 (London: Weidenfeld & Nicolson, 1973), pp. 133–4.
18Ibid.
19Caroline Blackwood, ‘The Interview’, first published in the London Magazine, 1972, reprinted in Caroline Blackwood, For All That I Found There (London: Duckworth, 1973) as a fictional reminiscence of life with an ‘oddly honourable’ painter, the interview involving ‘my whole past … being thrown back at me all curiously curdled and distorted’, p. 62.
20Tania Stern, letter to Lucie Freud, n.d. [1953], Freud Museum Archives.
21Evelyn Waugh, letter to Nancy Mitford, The Letters of Evelyn Waugh, ed. Mark Amory (London: Weidenfeld & Nicolson, 1980), p. 423.
23: ‘MY ARDOUR IN THE LONG PURSUIT’
1Cyril Connolly, letter to Olga Rudge, 16 November 1970, quoted in Jeremy Lewis, Cyril Connolly: A Life (London: Jonathan Cape, 1997), p. 548.
2Caroline Blackwood, ‘Portraits by Freud’, New York Review of Books, 16 December 1993.
3Anne Dunn, in Lucian Freud: Portraits (2004), fi
lm directed by Jake Auerbach, produced by Jake Auerbach and William Feaver.
4LF letter to Lilian Somerville, January 1954, British Council Venice Biennale Archive.
5LF letter to Lilian Somerville, 18 January 1954, British Council Venice Biennale Archive.
6Lilian Somerville, letter to Alfred Barr, February 1954, British Council Venice Biennale Archive.
7Ibid.
8Lilian Somerville, letter to LF, 26 February 1954, British Council Venice Biennale Archive.
9LF letter to Lilian Somerville, n.d. [1954], British Council Venice Biennale Archive.
10Caroline Blackwood, in Lucian Freud: Early Works catalogue (New York: Robert Miller Gallery, 1993), p. 14.
11Lilian Somerville, telegram to LF, April 1954, British Council Venice Biennale Archive.
12Ibid.
13MS, private collection.
14LF letter to Lilian Somerville, April 1954, British Council Venice Biennale Archive.
15Lilian Somerville, telegram to LF, n.d. [April 1954], British Council Venice Biennale Archive.
16Herbert Read, Foreword, catalogue for British Pavilion, Nicholson Bacon Freud, Venice Biennale, 1954.
17John Rothenstein, catalogue for British Pavilion, Venice Biennale, 1954, pp. 3–4.
18David Sylvester, catalogue for British Pavilion, Venice Biennale, 1954, p. 3.
19Alfred Frankfurter, ‘European Speculations’, Artnews, September 1954, p. 23.
20Herbert Read, Contemporary British Art (Harmondsworth: Pelican Books, 1st edn, 1951), p. 35.
21Herbert Read, Contemporary British Art (London: Pelican Books, revised edn, 1964), p. 35.
22Douglas Cooper, Burlington Magazine, October 1954.
23‘Ephraim Hardcastle’ column, Sunday Express, 16 May 1954.
24Colin Tennant, Christie’s catalogue, London sale, 11 December 1997.
25Ann Fleming, letter to Joan Rayner and Patrick Leigh Fermor, 23 August 1954, in The Letters of Ann Fleming, ed. Mark Amory (London: Collins, 1985), p. 141.
26Vic(tor) Willing, Selected Writings (London: Karsten Schubert, 1993), p. 34.
27Evelyn Waugh, letter to Anne Fleming, 5 May 1954, The Letters of Evelyn Waugh, ed. Mark Amory (London: Weidenfeld & Nicolson, 1980), p. 424.
28David Storey interviewed by Jasper Rees, www.theartsdesk.com, 2 November 2013.
24: ‘IDYLLIC, IN A SLIGHTLY MADDENING WAY’
1Henrietta Moraes had a son by Colin Tennant in 1954, unrecognised until 2009, a decade after her death, when DNA tests were initiated by this son, Joshua Bowler.
The Lives of Lucian Freud Page 72
