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FOOTNOTES
*1 Quotes framed in the present tense (e.g., he says, she recalls) are taken from the authors’ interviews. All other quotations, with a few exceptions, are from printed sources cited in the notes.
*2 In excerpts from Pollock family correspondence, errors of spelling, syntax, and punctuation have been preserved except where indicated by brackets.
NOTES
ABBREVIATIONS
JP Jackson Pollock
LK Lee Krasner
ABP Alma Brown Pollock (wife of Marvin Jay)
ACM Arloie Conaway McCoy (wife of Sanford)
CCP Charles Cecil Pollock
EFP Elizabeth Feinberg Pollock (first wife of Charles)
FLP Frank Leslie Pollock
LRP LeRoy Pollock
MJP Marvin Jay Pollock
MLP Marie Levitt Pollock (wife of Frank)
SLM Sanford Lee McCoy
SMP Stella McClure Pollock
SWP Sylvia Winter Pollock (second wife of Charles)
AAA Archives of American Art
CG Clement Greenberg
DP&G Francine du Plessix and Cleve Gray
int. interviewed
FVOC Francis V. O’Connor
NYT New York Times
OC&T Francis V. O’Connor and Eugene V. Thaw
PG Peggy Guggenheim
q. quoted
THB Thomas Hart Benton
PROLOGUE: DEMONS
SOURCES
Books, articles, records, and transcripts
Friedman, JP; Gruen, The Party’s Over; Marlborough-Gerson Gallery, JP; OC&T, JP; Potter, To a Violent Grave.
Bruno Alfieri, “Piccolo discorso sui quadri di JP,” L’Arte Moderna, 1950 (English typescript in MOMA file); DP&G, “Who Was JP?” Art in America, May–June 1967; Stanley P. Friedman, “Last Years of a Tormented Genius,” New York, Oct. 29, 1973; R[obert] G[oodnough], Art News, Dec. 1950; CG, “The Present Prospects of American Painting and Sculpture,” Horizon (London), Oct. 1947; “JP: Is He the Greatest Living Painter in the United States?” Life, Aug. 8, 1949; B[elle] K[rasne], Art Digest, Dec. 1, 1950; B. H. Friedman, interviews with LK, in Marlborough-Gerson Gallery, JP; [Berton Roueché], “Talk of the Town,” New Yorker, Aug. 5, 1959; James T. Vallière, “Daniel T. Miller,” Provincetown Review, Fall 1968; James T. Vallière, “De Kooning on Pollock,” Provincetown Review, Fall 1967; ”Words,” Time, Feb. 7, 1949.
“Art Buy Sensation,” Sydney Daily Mirror, Oct. 23, 1973; “Expert Defends ‘Blue Poles’: JP work ‘authentic,’” Sydney Morning Herald, Oct. 25, 1973; “JP, Artist, Wrecks Car, Escapes Injury No Holiday Fatalities,” East Hampton Star, Jan. 3, 1952; Aline B. Loucheim, NYT, Sept. 10, 1950; Israel Shenker, “A Pollock Sold for $2-Million, Record for American Painting,” NYT, Sept. 22, 1973.
East Hampton Town Police, Police Log, Dec. 28, 1951, p. 571.
CG, Barnett Newman, and Betty Parsons, int. by Kathleen Shorthall for Life, 1959, Time/Life Archives.
Interviews
Peter Blake; Paul Brach; Peter Busa; Nicholas Carone; Herman Cherry; John Cole; Robert Cooter; Violet de Laszlo; Karen Del Pilar; Sanford Friedman; David Gibbs; CG; Merle Hubbard; Edys Hunter; Sam Hunter; Harry Jackson; Paul Jenkins; Buffie Johnson; Reuben Kadish; Gerome Kamrowski; Ruth Kligman; LK; Millie Liss; Conrad Marca-Relli; Mercedes Matter; ACM; Akinabu Mori; Annalee Newman (int. by David Peretz); Constantine Nivola; Doug Ohlson; CCP; CCP (int. by David Peretz); FLP; MLP; MJP; Charles Porter; Miriam Schapiro; Nene Schardt; Jon Schueler; Jim Shepperd; Jane Smith; Patsy Southgate; Ronald Stein; Ruth Stein; Milton Resnick; May Tabak Rosenberg; Araks Tolegian; Evelyn Porter Trowbridge; Roger Wilcox.
NOTES
“I’m going to kill myself”: Jane Smith. Although Lee Krasner was infuriated when the story of the painting of Blue Poles—based on an interview with Tony Smith—appeared in New York magazine in October 1973 (Stanley P. Friedman, “Last Years”), she never denied its accuracy. In a typically legalistic manner, she denied only that Smith, and later Barnett Newman, had helped paint the final work. OC&T (II p. 193) carefully record Lee’s position on the matter: “Lee Krasner Pollock denied that any other artist participated in the creation of the painting as it looks today.” Lee was, of course, speaking the literal truth: JP had scraped off all of the paint dripped onto the canvas by anyone else long before he completed the work that now hangs in the Australian National Gallery. From extensive interviews with the people who knew Tony Smith best, it is clear that he was no
t a man to tell lies or to take credit where credit was not his due, and the story he told Friedman in 1973 was identical in all major points with the story that he had told his wife, students, and friends (Jane Smith, Johnson, Ohlson, Shepperd, and others) in the years since the fatal evening, twenty years before, when he drove out to Springs to be with his suicidal friend.
Talk of suicide: Wilcox. Smith alarmed: “[I] felt that something was wrong,” Smith told a staff correspondent of the Sydney Morning Herald; q. in “Expert Defends ‘Blue Poles,’” Oct. 25, 1973. “Hold on”: Q. by Shepperd. Critics dazzled: See G[oodnough], Art News, p. 47; K[rasne], Art Digest p. 16. “The most powerful”: “The Present Prospects of American Painting and Sculpture,” Horizon, pp. 25–26. Life magazine: “JP,” Life, pp. 42ff. Drive taking four hours: Shepperd.
Cooking sherry: Wilcox. “An alcoholic in excelsis”: Int. by Shorthall, 1959. From beer to bourbon: Wilcox. Drinking since junior high school: ACM. Alcoholic father: MJP; MLP. “A way out”: Q. by Wilcox. “How the hell”: Wilcox. Wrecking Cadillac: On Dec. 28, 1951; police log, East Hampton Town Police, p. 571; “JP, Artist,” East Hampton Star, Jan. 3, 1953.
Smith arriving in Springs: Jane Smith; Stanley P. Friedman, “Last Years,” p. 48. “I was afraid”: Q. in Stanley P. Friedman, “Last Years,” p. 48. Looking fit: Jenkins. Solution of rock salt: B. H. Friedman, p. 192. Guano and ground beets: MLP. “A proper balance”: B. H. Friedman, p. 172. Pollock’s smile and dimples: Cherry; Matter. Smith’s physical attraction to Pollock: Johnson; Wilcox. Lee’s fear of storms: Ruth Stein. LK: When JP talked to her about his drunken binges, he would say, “Think of it as a storm that will pass.” Trying to become invisible: Carone. Lee cradling Jackson’s head: Carone; Rosenberg.
Both Jackson Pollocks: See Valliere, “Daniel T. Miller.” “I can’t do anything”; “the pictures just come”: Q. by friend, name withheld by request. Smith drinking with Pollock: Kamrowski. “What the fuck”: Q. by Carone in a similar situation. “Cowboy painter”: See de Kooning, q. in Vallière, “De Kooning on Pollock,” pp. 603–05. “People have always frightened and bored me”: JP to CCP and FLP, Oct. 22, 1929. Jackson at parties: Wilcox. “Stripped of his skin”: Wilcox, recalling JP. “Pained, painful person”; “awkward, long silences”: Brach; Schapiro. LK, q. in Gruen, p. 233: “Jackson had a mistrust of words. Words were never his thing. They made him feel uncomfortable. And people made him uncomfortable.” Working up courage with beers: Wilcox. “Ugly-touch Hemingway”: Southgate. Company of neighborhood girls; “house”: Trowbridge. Estranged from father: FLP. Tests of manhood: CCP; FLP; MJP. Jackson’s ambiguous sexual urges: Busa; Carone; De Laszlo; Sanford Friedman; Gibbs; Johnson; Kadish; Marca-Relli, etc.
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