Beschreibung:

(Matisse, Henri)Archive of letters by contemporary artists and critics on Henri Matisse's influence on the Abstract Expressionists, 1981-1982
Comprising: Helen Frankenthaler Typed letter signed ("HF"). 1 page, New York, NY, 28 October 1981. — Clement Greenberg. Typed letter signed ("Clement Greenberg"). 1/2 page, Norwich, NY, 30 October 1981. — Charles Pollock Autograph letter signed ("CP"). 1 1/2 pages, Paris, France, 4 November 1981, with the original envelope. — Alex Katz Autograph letter signed ("Alex Katz"). 1 page, n.p., 6 November 1981. — James Brooks Autograph letter signed ("James Brooks"). 1 page on ruled notebook paper, East Hampton, New York, 7 November 1981, with the original envelope. — Richard Diebenkorn Autograph letter signed ("Richard Diebenkorn"). 2 pages on ruled notebook paper, Santa Monica, California, 8 November 1981, with the original envelope. — Dore Ashton. Autograph letter signed ("Dore Ashton"), 1 page on the blank margins of the recipient's original letter solicitation, [Cooper Union, New York, NY, 10 November 1981]. — Grace Hartigan Autograph letter signed ("Grace Hartigan"). 1 page, Baltimore, Maryland, 1 January 1982, with the original envelope. — Clement Greenberg. Typed letter signed ("Clement Greenberg"). 1/2 page, Norwich, NY, 14 January 1982. — Ray Parker Autograph letter signed ("Ray Parker"). 4 pages, n.p., 2 February 1982. — Charles Pollock Autograph letter signed ("CP"). 2 pages, Paris, France, 3 February 1982, with the original envelope. — Robert Motherwell Typed letter signed ("RM"). 2 pages, Greenwich, CT, 4 February 1982, with the original envelope. Overall 8 autograph and 4 typed letters, 17 1/2 pages; minor handling wear.
Helen Frankenthaler, Alex Katz Clement Greenberg, Richard Diebenkorn Robert Motherwell and more on Henri Matisse
A collection of letters written at the solicitation of a graduate student at Queen's University, who was researching the influence of Henri Matisse on Abstract Expressionism. The student requested a wide array of information ranging from a list of printed works on Matisse the recipient had encountered, to recollections of discussions on him with other Abstract Expressionist artists, and general ideas or feelings about Matisse's paintings. The broad scope elicited a wide array of responses, sometimes curt as with Clement Greenberg's respond ("You've asked the impossible of me —not only the equivalent of an article, but a researched article.") but oftentimes more generous and verbose.
Frankenthaler and Diebenkorn responded in list form, enumerating either publications or exhibitions they feel may have influenced their work, with Diebenkorn offering further analysis; "The works of 1914 to 1918 have been the focus of my engagement with Matisse although I can't think of any moment in his career that I would put in 2nd place." Motherwell's response includes a generous discussion of his visual education via Cezanne and Matisse, and makes reference to his impending show at Knoedler & Company, saying "I am about to exhibit in several weeks, my most recent painting which are still partly indebted to Matisse, though this will probably not be noticed because they are mainly in black and white."
Other artists are more evasive, perhaps elucidating more about the tensions at play in the relationship between art historians and their subject than about Matisse. Alex Katz writes: "...as for influence, it not a matter of fact it is a matter of opinion and your opinion of Matisse's influence upon my work may be as valuable as mine." Grace Hartigan's letter is even more blunt: "It seems to me that art historians and graduate students are lazy. They want the artists to explain the in-explicable. If you want to see the influence of Matisse on the "Abstract Expressionists" — LOOK! Don't expect artists to give their secrets."