2.
‘Un pastello di Casciaro ha del Bach e del Mozart; e talvolta è tragico e profondo, anche, come una commossa voce beethoveniana. Questa eleganza è deliziosa: questo spirito, questo gusto son rari: questa forza piacevole e sicura, non vi opprime ma vi trascina: e la voce di questo adorabile artista ha tutti gli accenti: ha la foga ed il sospiro, l’impeto e la tenerezza, un grido e un sussurro.’
No.49 Willem van den Berg 2.
De Telegraaf, 1941.
No.50 Lucian Freud 1.
Quoted in Sebastian Smee, Lucian Freud: Drawings 1940, exhibition catalogue, New York, Matthew Marks Gallery, 2003, p.16.
2.
William Feaver, ed., Lucian Freud Drawings, exhibition catalogue, London, Blain/Southern and New York, Acquavella Galleries, 2012, p.13.
3.
Sebastian Smee, ‘Introduction’, in Lucian Freud, Sebastian Smee and Richard Calvocoressi, Lucian Freud on paper, London, 2008, pp.7-8.
4.
Ibid., p.5.
5.
Nicholas Penny and Robert Flynn Johnson, Lucian Freud: Works on Paper, London, 1988, pl.31 (where dated 1950); Catherine Lampert, Lucian Freud, exhibition catalogue, Dublin, Irish Museum of Modern Art, and elsewhere, 2007-2008, illustrated in colour p.45; Freud, Smee and Calvocoressi, op.cit., no.89 (where dated 1950); Feaver, ed., op.cit., pl.55 (where dated 1948). The pastel, which measures 571 x 482 mm., is in a private collection.
6.
Mic Moroney, ‘Lucian Freud: Prophet of Discomfort’, Irish Arts Review, Summer 2007, p.82.
7.
I am grateful to Catherine Lampert for this information. Anne Dunn also believes that Freud only had pastels with him during their 1948 stay in Connemara.
8.
Penny and Johnson, op.cit., pl.27; Freud, Smee and Calvocoressi, op.cit., no.85; Feaver, op.cit., no.54. The drawing measures 546 x 425 mm.
9.
Inv. T11793; Freud, Smee and Calvocoressi, op.cit., no.96 (where dated 1949); Feaver, op.cit., pl.61 (where dated 1948). The dimensions of the drawing are 223 x 145 mm.
10. Freud, Smee and Calvocoressi, op.cit., no.97. The drawing measures 216 x 140 mm. 11. Nicholas Penny, ‘The Early Works 1938-1954’, in Penny and Johnson, op.cit., pp.12-13; Richard Calvocoressi, ‘The Graphics of Lucian Freud’, in Freud, Smee and Calvocoressi, op.cit., illustrated pp.26-27; Anonymous sale (‘Five Important Works by Lucian Freud from a Private European Collection’) London, Sotheby’s, 10 February 2010, lot 68.
No.51 Henri Matisse 1.
Henri Matisse, Portraits, Monte Carlo, 1954; quoted in translation in Jack Flam, ed., Matisse on Art, London, 1973, p.151.
2.
Hilary Spurling, ‘Debits and credits: Henri Matisse, the Bussys and Blloomsbury’, The Burlington Magazine, April 2005, pp.235-236.
3.
Hilary Spurling, Matisse the Master, Vol.II: A Life of Henri Matisse: The Conquest of Colour, 1909-1954, London, 2005, p.368.
4.
Jane Simone Bussy, ‘A Great Man’, The Burlington Magazine, February 1986, pp.80-84.
5.
Spurling, Matisse the Master, op.cit., p.370.
6.
Matisse, Portraits; quoted in Flam, ed., op.cit., p.152.
7.
John Golding, ‘Introduction’, in John Elderfield, The Drawings of Henri Matisse, exhibition catalogue, London, 1984-1985, pp.15-16.
8.
Ibid., p.11.
No.52 Ben Nicholson 1.
Chris Stephens, ed., A Continuous Line: Ben Nicholson in England, exhibition catalogue, London, 2008, p.79.
2.
Peter Khoroche, Ben Nicholson: drawings and painted reliefs, Aldershot, 2002, pp.70 and 7.
3.
Ibid., pp.61-62.
4.
Two drawings of Ninfa, both dated June 1954, are illustrated in Sir Herbert Read, Ben Nicholson: work since 1947, London, 1956, unpaginated, nos.41 and 81.