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Sagaponack
Day II

Phil, 
I'm sorry that I had to jump right into that stuff about Louis & Michael because I feel that everything in the essay, especially the developmental clarity and the gradual, elegant building up of emphases & weights of altitudes towards abstraction & the practice of painting do me & all honest artists more good than, as you would say, we can possibly imagine now.

The one thing I want to make clear to you is that my concern is not focused by fear of Michael in realation to either you or myself (although for myself, I guess, because we (Michael & I) were so close in the beginning this can never be entirely true, I mean I guess I'll never be free of him anymore than I'm really still shaken by that first Louis show I saw at French & Co. - 

[[left margin]] When was that - 1957? [[/left margin]]

Picasso, Matisse, Pollock, Newman, et. al. - I may never be as good, but I know for sure how they did it, & what they were about. I can't say that about Louis. In moments of egomanical despair I've thought that may be he (Louis) didn't know either. Maybe I should relax 

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