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“... something much deeper and blacker, that we all respected’. In an obituary of the sculptor David Smith he describes the good times they had and adds: ‘we both knew damned well the black abyss in each of us that the sun and the daughters’ skin and the bounty and the drink could alleviate but not begin to fill, a certain kind, I suppose of ...”

“... debates that opened up in Picasso’s day and they recur in the classical formulations of Clement Greenberg. But their most systematic exponent in recent years has been Yve-Alain Bois, who has argued that Picasso’s development from 1907 to 1913 represents a coherent and unified evolution, marching briskly forward from an interest in African masks around ...”

“... Israeli officials, for a man detained as a suspect in the killings of two Palestinians. The man, David Axelrod, is not related to Leon Trotsky. A man with the same name, who is a descendant of Trotsky, was questioned briefly by the police in a case of mistaken identity. The arcane character of this item, which was at the top of that day’s menu, might make ...”

“... The Factory, and the role he came to assume there as Svengali-producer and artist-voyeur. Clement Greenberg ‘saw painting as an activity which existed within the limits of its own world, self-validated and self-contained’, says Wollen. Warhol, more than anyone else, broke open this enclosed world of ‘ambitious art’, a world in which art had become a ...”

“... Israeli poet), Yehuda Amichai, Leah Goldberg, Moshe Dor, Shlomo Viner, Dahlia Ravikovitch and David Vogel; Oxford have published Amichai and Carcanet Pagis; Tony Rudolf and Howard Schwarz have recently edited an enormous volume of modern Jewish poetry, which includes a 300-page section on Hebrew poetry.* All these, of course, are in English only. But some ...”

“... art criticism when Fried was a young man, Harold Rosenberg and Fried’s own mentor Clement Greenberg, started out wanting to be all-round literati before becoming specialists in the fine arts; but Fried, who was one of the first wave of art critics to have a PhD in art history, seems to have been the only one of that group to have been tempted, however ...”

“... as Shaw and Mencken and Edmund Wilson were interested, and as his colleagues at the Nation Clement Greenberg and B.H. Haggin were. He does not drive home an argument and avoids underlining the implications of a perception. Rather, he will broadly sketch a chosen compliment, travesty, explosive summary or elaboration. The one-liners come as fast and sure as ...”

“... point, of an artist’s work and then describing the impression that art makes on an open mind. (David Sylvester was especially good at this.) It has seldom generated a productive debate because it tends to be defensive, but also because there is such a fear of encouraging philistinism or of being mistaken for a philistine. Artists themselves have not always ...”

“... and natural history within a ‘big history’ such as those outlined by the American writers David Christian and Cynthia Stokes Brown – or, in the terminology of Edward O. Wilson, in a ‘consilience’, a convergence of intellectual disciplines, humanities with science. Ultimately, all teaching in the fine arts department pays a kind of homage to ...”

“... about Clinton are always the same joke. ‘When he comes to a fork in the road,’ writes Paul Greenberg of the Arkansas Democrat-Gazette, ‘he takes it.’ He wants to have his dozen Big Macs and eat them too. And so forth. (I myself have contributed a one-liner: ‘Why did Bill Clinton cross the road? Because he wanted to get to the middle.’) In ...”

“... 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 ...”