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“... be justified by reference back to Bosch or Goya, or the D’Este court or even to Francis Bacon or David Hockney. It stands on its own feet as a marker of the tension felt in the art world between the legacy of a lost Modernism and the ascendant culture of the spectacle, the transformed and triumphal forces of everything which Clement ...”

“... Upper West Side or Greenwich Village where Dwight Macdonald, Alfred Kazin, Philip Rahv, Clement Greenberg and a supporting cast of kibitzers engaged in rhetorical (and, in Greenberg’s case, actual) fisticuffs. Like many men of ideas with impossibly high standards of intellectual probity, they could also be snarly little ...”

“... to be done to explain that his paintings were not just garish expressions of his own neuroses. David Sylvester and Michel Leiris, who both wrote perceptively about his work, emerged as friends and champions. As early as 1951, Sylvester asserted that Bacon was ‘the major English artist of his time’. He soon had access to Bacon’s studio and saw ...”