Viewing page 2 of 2
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
de K. His theory. Yes. He made a color chart for the paintings. he made a chart of all his modulated colors for his large paintings. There is a typical one at Jimmy Ernst's. He made enormous ones and they are very good. You should talk to Harry Holtzman. He introduced us. He makes fascinating sketches now that I saw in an article. (Artnews Summer 1971). Like a harbor or market place, like four big strokes; a dark, a light, two colors, and he has a way of painting a figure like being in shadow almost. They are very fascinating. Very broad, like Boudin. You could almost know what they are doing. Association of beach and spots of paint. I adore Boudin's pictures, but I saw the same thing in Helion. he was hot stuff then! ......................... The above is what I put down during the phone conversation. I an amazed that I found it so quickly and that the yellow second-sheet paper I typed on hadn't disintegrated by now. I think he misunderstood my first question, "was he affected...," i.e., he thought I meant it the other way around. I told Jim Jordan about the incident referring to Gorky and he cited it in his book on Gorky. Helion said that he and Gorky met and became friends in 1932, five years earlier. De Kooning could have been affected by the 'curved shapes." What do you think? Re Agnes; Did you read the book by Raymond Jonson? I thought that he was a very bitter and full of prejudice. By the way, the painting, Untitled (Five Woomen at a Lilly Pond), reminded me of one by Rex Slinkard called Night Air, c. 1915, but it is hardly likely that she would have seen it since she wasn't here. His figures were pretty weightless. Do call if you have questions. I am almost out of ink.
Fixed indented paragraphs per SI protocol. Corrected miss-transcribed words and punctuation. Deciphered last sentence. Can't read out the very last sentence.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact firstname.lastname@example.org.