4 comments about I Am Not Jackson Pollock: Stories.

1. John Haskell's first short story collection takes key figures from history, identifies them at defining moments in their existence and builds a story around them to explain their significance. It's an interesting take on the short story, which some say is a dying art, and Haskell does good work, for the most part.

   His premise, though, turns the "stories" into more analysis of moment than a narrative. Occasionally, the stories become bogged down and feel like essays, though this is itself is intellectually stimulating.

   He gives the reader a look inside Jackson Pollock's head in one piece, granting you the opportunity to follow Pollock's reasoning.

   In "Elephant Feelings," the best of the stories, Haskell takes three figures from culture and history and draws parallels between them. (It feels like a shorter version of "The Hours," even, except with mythical characters and an elephant playing the Virginia Woolf part.) But not enough is done with the premise, in my opinion.

   As with all the stories, I felt like the characters and moments were well-drawn. But, to justify going into all this detail, I wished it'd featured less analysis and more plot.




2. Publisher's Weekly (editorial reviews) describes the nature of this book far better than the previous customer review. Haskell is ambitious, knows this work is perversely anomalous, but isn't motivated by difference for its own sake. He's winnowed down what really interests him in fiction and is relying on myth, news accounts, and film scenarios the way a composer might riff on familiar melodies.

   None of these pieces (though in a sense the complete book has an inviolate structure of its own) was transcendent, however. I was interested but not rapt. No sirens or fireworks went off. But Haskell is nonetheless an artist in the best sense; he is after something beyond the familiar confines of fiction, is following his own muse without apology or a need to ingratiate himself with the reader, and I have a strong hunch that his best efforts lie ahead. He is original, focused, and definitely a writer to watch.




3. John Haskell is a writer new to the reading (though not the performing) world and his voice is one that stirs interest, primarily because it is unique. He tells these nine 'short stories' - they seem more like extended meditations or themes and fugues - in a manner that combines known public figures (a particular penchant for old movie stars and old movies) with imaginary cast members to explore the thin line of reality vs fiction. He makes bizarre choices in combining such people as Orson Welles, Joseph Coton, Falstaff, Prince Hal and Janet Leigh to ponder self perception:"...once we think we know who we are, to change who we are means giving up what we love, even if we hate it." The haiku poet Basho is intertwined with thoughts about John Keats; Keats falls short of relating to Fanny Brawne until he faces his moment of death; Basho confesses he "...wants to find beauty and harmony, but something is always distracting him - people usually - pulling him off the road." Mercedes McCambridge, the devil voice of Linda Blair in "The Exorcist", struggles with alcoholism, Joan of Arc is recallled historically and through the various guises of the actress who portrayed her in the film. Sound confusing? Well it is, and sometimes the obtuseness of Haskell's technique borders on not the absurd, but the senseless. I think we're seeing the early work of a mind that is rich in fluid imagination. I feel as though this author has a lot to say but is hiding behind the likes of Jackson Pollock and Joan of Arc and Ganesha for fear of not being noticed. I don't think he needs this gimmick and I eagerly await his next novel. He WILL be noticed on his own rights.



4. Believe the review on this page that says the book is astonishing. I've never read anything quite like it. Why would anyone who read it call it "senseless" - ? That reader really missed the mark. This is fascinating writing - the author is a master at seeing similarities between things which, on the surface, are dissimilar. From high culture to low, Haskell brings it all together into one frame. I recommend it wholeheartedly to anyone interested in ficition that isn't dead in the water. If you're tired of formulaic writing, this one will wake you up. This is infused with motion and risk. A lovely book, my favorite of many read in the last year.

4 comments about Jackson Pollock: Energy Made Visible.

1. This book is a thorough review of Jackson Pollock's work and his professional life; however I would have enjoyed it more if there had been more indepth reporting of his personal life. HIs relationship with his wife, parents and brothers would have made for a more insightful view of the artist as a man.



2. I am just beginning to explore pollacks work - book is well laid out



3. I was wowed reading this energetic, straightforward book, mainly by the many connections made--how Pollocks studies with the great Mexican muralist Orosco who used used/taught a dripping splashing underpainting technique can logically link to how Pollock got splashing and painting on large scale canvases---to the influence of other artists, such as Picasso, on the early works of Jackson Pollock, to the revelation of Pollock's love of and use of found natural forms...



4. This may have been one of the better Pollack books when it came out in 1972, but now I think its main use is for die hards who want every detail. And the details are exhausting: galleries, museums, who what where - too much for me. What I was looking for was more process/personal/mindset stuff, and there is some but you have to go through a lot to get to the little of it there is. I recommend "Jackson Pollack" by Ellen G. Landau. Great reproductions and good text.

3 comments about Jackson Pollock.

1. This intelligent and lavishly illustrated volume, which first appeared in a 1989 hardcover edition, covers Pollock's entire career, his early influences, and the progression of the themes, techniques, and accomplishments of his life as an artist. Ellen Landau's text is enlightening, but the best part of this book is, inevitably, the illustrations themselves, which are an unparalleled feast for the eyes. For those who want to experience and understand Pollock's art (rather than dwell on his personal problems) this is an excellent choice.



2. Before Varnedoe and Karmel's Pollock monograph, which accompanied the MOMA / Tate retrospective a few yeas ago, this was the best available text-and-plates book about Pollock. In terms of its text, this book is still relevant and insightful. Like Elizabeth Frank, Landau does a lot of truly eye-opening comparison work throughout her book. She'll reprint a work by Picasso, say, or a Native American artifact, or a Pollock sketch, and then analyze the influence it exerted on one of Pollock's key canvases.

   And unlike the Varnedoe/Karmel book, this volume reprints these several kinds of works in close proximity, often on the same or a facing page, a useful feature. Landau's remarks about Pollock's sources, outcomes, growth and directions are always at least provocative and often really instructive, particularly in her coverage of the late black paintings. Indeed, Landau's analysis is regularly listed and praised in other authors' bibliographies.

   The drawbacks of the book are its numerous poor reproductions, and plates after all make the primary reason for buying an artist monograph. Many of the plates are excellent and crisp--"Lucifer," "Pasiphae," "Autumn Rhythm," the colorful, playful works following Pollock's marriage. But too many of the plates and fold-outs are muddy, and Pollock's use of silver or aluminum paint is simply beyond this book's ability--as with the gaudy and over-exposed looking gatefold that opens the book. "Blue Poles" and "Stenographic Figure" are among the book's other poor reprints. Until I saw the Varnedoe/Karmel reprint of "One: Number 31, 1950," and then again in "person" at the MOMA, I just flatly didn't understand how Pollock had approached it. It looks "ok" in Landau, but with a lessened resolution that just slightly confuses the webbing throughout.

   Still, I value the book and particularly its text. As for the reproduction quality, I did buy a second copy to cannibalize it; I've posted many laminated pages throughout my classroom. But I got that copy at remaindered prices. At full cost, this is a 3 1/2 or 4 star book. At bargain prices, the book rates 4 or 4 1/2 stars. Varnedoe/Karmel is just visually superior.




3. This beautiful book with an anthology of Pollock's work; along with the details of his life, was very engrossing. I was unfamiliar with his work; although I do collect some artwork. When I saw and read the book from the coffee table of a friend's home over the holidays; I couldn't wait to order from Amazon.com for my copy. A recent find of Pollock's work was shown on David Letterman. It sold for millions after being locked away in a closet for many years. Beautiful book for a fantastic artist.

3 comments about Jackson Pollock: Key Interviews, Articles, and Reviews.

1. Image, a book about a famous artist, will all kinds of information, but ZERO pictures of either him or his paintings. Other Pollock books are better. If you must have every book about this artist, ok, get it, but put it at the bottom of your wish list.



2. This book is the type of art book that is the exception to the picture rule. The fact that there are no pictures doesn't detract a bit from the abundant amount of information it contains. I suspect greatly that this is the type of book that only those initiated into the Pollock milieu (and his work) would want to read anyhow. A fantastic source of nostalgia and information that allows the informed reader the opportunity to fill in some blanks on his own.



3. The intended and proper audience for this terrific book is the deeply engaged Pollock student (or acolyte). Further, the volume has no artwork or pictures at all; if you're looking for a good edition of his paintings, try the wonderful MOMA exhibition catalogue, edited by Kirk Varnedoe. What this volume offers is a rich and engaging range of Pollock statements, interviews, art reviews, criticism, analysis, and aesthetic speculation. Together with a good book of his paintings, this book would give you a sort of "Norton Critical Edition" of Pollock's work--you'd have the paintings and then this record of decades of analysis.
   Now, in a few cases the lack of pictures does actually hinder one's ability to follow all of the comparisons and insights these essays offer. This is especially true in this book's generous reprint of William Rubin's seminal "Jackson Pollock and the Modern Tradition", originally serialized with copious illustrations. Nonetheless this book presents, chronologically, a tremendous overview of the 20th century's evolving reception and understanding of Pollock's art, from his own published or radio-broadcast commentary to Life magazine's ambiguous (but myth-making) "Is He the Greatest Living Painter in America?" to Clement Greenberg to psychoanalytical writings to Elizabeth Langhorne's allusive and speculative examination of a single painting, "The Moon Woman Cuts the Circle." It's a great book to just pick at, what with its variety and scope, and each page poses something for consideration or debate--to the person who really knows Pollock's work and its underpinnings well. I wish this book had included something from John Berger; what the book "Such Desperate Joy" includes from him is really provocative and efficient. But I suppose that's a petty criticism in light of what this book does assemble, making availiable in one place all of this critical investigation into one of the 20th century's great artists.

5 comments about Jackson Pollock.

1. Having just taken in the MoMA show, I was very satisfied with the Pollock catalog. Very nice job reproducing the works (a difficult task in the printing of art catalogs!) Many fold-outs assist in conveying the size of Pollock's larger works. Large, full-bleed detail shots add a nice touch, complimenting the entire painting. While I'm not thrilled with the cover design, the interior is well-written, well-presented, and well-worth reading.



2. Excellent companion piece to the MOMA show (which traveled to London's Tate) goes beyond all other Pollock explorations. A "must" for students of modern American art as well as those just wanting to get a better understanding of what Pollock was REALLY DOING.

   Large format features fold-out reproductions of breathtakingly high quality. Among these, incredibly, are paintings not found in any other published sources. (The incomparable Lucifer (1947) is one such work).

   The text is scholarly but readable, and although there is a considerable amount of it, each open page of writing offers at least a couple relevant and highly interesting photos or other illustrations. The many large color plates would certainly make a gorgeous and impressive coffee table book for anyone who doesn't choose to read it.

   Kirk Varnedoe writes definitively about Pollock's mercurial life & career. Varnedoe's nearly 75 pages of biographical analysis are a welcome alternative to the kind of misguided mythologizing about Pollock that has for a long time colored the artist as an overrated art "star."

   Pepe Karmel's contribution to this book is an amazing analysis of Pollock's painting process through an exhaustive examination of the famous films and photographs of Pollock at work. This was a fascinating, ground-breaking part of the exhibition, and is equally wonderful in the book.

   Well worth the price.




3. I picked this book up at the MOMA Pollock retrospective a couple years ago and have used it extensively. Having seen many of the paintings in this book firsthand, I can say that these are some of the best reproductions offerred in book form on Pollock's work. Another plus is that several paintings are printed on fold-out pages, so that the work doesn't cross the book's seam. So many of his paintings are extremely wide that this makes a lot of sense (otherwise, there would be hardly any resolution in the height dimension).

   If you're interested in Pollock and need to refer to the reproductions, I absolutely recommend this book above all others out there.




4. This breathtaking catalogue is simply the best single volume available on Jackson Pollock, and this is primarily--but not only--because of the number and quality of the reproductions it offers. Almost every one of the dozen or so Pollock books in my library contains a painting not available in the others, but this book collects and beautifully photographs the greatest number and variety of his canvases--outside of a catalogue raisonee.

   As the other reviewers state, there are many generously-sized fold-out pages here, and the crispness and resolution of these big reprints and of the more modest pages are simply amazing. To take two essential examples, this book's reprints of "One: Number 31, 1950" and "Blue Poles: Number 11, 1952" are astoundingly clear, better than any of the many other versions I've seen in art books, even in Ellen Landau's large-format survey, a book which also includes gatefolds.

   (Another reviewer, by the by, states that "Lucifer" is not available in any other book, which is not true. Among other places, it appears in Landau, in Elizabeth's Frank's concise volume, and as the sole color reproduction in the book for the 1965 MOMA retrospective. Anyway, it gets terrific treatment here.)

   Another invaluable inclusion in this book is a great number of full-sized detail photos of the canvases. For example, on a page adjacent to "Lucifer" and "Autumn Rhythm" and "Full Fathom Five," we see another photo of just one small section of that same painting but in 1-to-1 scale; these details reveal much of the dynamic, kinetic, urgent quality of these works, their encrustations of sand, glass, pennies, paint caps--traits which even this book could otherwise never offer a livingroom Pollock-viewer.

   Further, having seen the exhibit in January of 1999, I can attest to the generally excellent fidelity of the color-balance. (Curiously, no one seems to be able to capture "Autumn Rhythm"'s grey-teal passages in a book, but if you were at this show or have viewed the painting at the Met you've seen them.)

   The accompanying articles are excellent. Kirk Varnedoe overviews of Pollock's life, artistic aims, his accomplishments, all illustrated with family and archival photographs and drawing on Pollock quotations. Pepe Karmel uses the extensive photographic and film record of Pollock painting to analyze Pollock's physical movements. Most wonderful are Karmel's computer reconstructions of early states of the painting "Autumn Rythm," based on Hans Namuth's photos of Pollock at work.

   In sum, this book gives the finest, fullest offering of both Pollock's life and art.




5. This is the catalogue for the landmark Pollock exhibition held at the Moma and the Tate in 1998-1999. Considering the steep rise in the insurance value of Pollock's paintings, such a comprehensive retrospective is not likely to be repeated in the near future and we are therefore fortunate to have such a brilliant book to help us remember it. The late Kirk Varnedoe was one of the best interpreters of contemporary American art and his text, never anecdotical and always informative without being pedantic, does justice to the masterpieces without falling into any of the cliches that often pollute our view of this great artist.
   
   Beautiful illustrations make this book an indispensable presence in any arts library.

1 comments about No Limits, Just Edges: Jackson Pollock.

1. The German subtitle translates "works on papers." The three essays in German discuss the tools, materials, and techniques Pollock used for his art works on paper. The third essay has photographs of pencils, felt-tip pens, and eye droppers this major modern artist used in creating such works. Seventy-eight are pictured in color one per page in chronological order in one gallery-like section of this larger, rectangular-shaped book. Pollock's works are familiar, and need no general commentary. The more-focused, particularly revealing artistic theme of the essays is Pollock's liberty with lines, or edges. As the numerous works on paper show, his progress in this technique and impulse gave him unprecedented freedom and novelty as an artist. One follows the expansion of Pollock's liberty with line and corresponding new dimensions of artistic freedom over the course of this time. Early, roughly representational works and others indicating the probable influence of Miro and de Kooning lead to the more complex, abstract art that is regarded as typifying Pollock. The chronological presentation and analytic essays (in German) allow one to gain a particularly revealing understanding of the artistic achievement of this groundbreaking modern artist. The work is the catalog for an exhibition of these works of Pollock's that was in Germany and is in New York until the Fall 2005.

No comments about Jackson Pollock: 1912-1956 (Taschen Basic Art).

4 comments about Action Jackson (Robert F. Sibert Honor Books).

1. Award winning authors, Jan Greenberg and Sandra Jordan introduce a whole new generation to the brillance of painter, Jackson Pollock as they focus on just two months in the artist's life, and the creation of one of his most famous paintings, No. 1, 1950 (Lavender Mist). Based on firsthand accounts from friends and family, and often using the painter's own words and quotes, this well researched and enlightening picture book biography lets the reader get into Pollock's head, hear his thoughts, feel his energy and joy as he works, and actually peek over his shoulder as he paints. "An athlete with a paintbrush, he uses his whole body to make the painting. Layers build with each gesture, new colors emerging, blending, and disappearing into the wet surface. He swoops and leaps like a dancer, paint trailing from a brush that doesn't touch the canvas..." Their eloquent and lyrical prose is engaging and complemented by Robert Andrew Parker's bold, bright, and busy watercolors. Together word and art paint a dazzling and evocative portrait of the artist, his work, and his times. "Some people will be shocked when they see what he has created. Some Angry. Some confused. Some excited. Some filled with a happiness they can hardly explain. But everyone will agree- Jackson Pollock is doing something original, painting in a way that no one has ever seen before..." Perfect for youngsters 7-11, Action Jackson includes a short biographical sketch at the end to augment the story and fascinating notes and sources about his life and paintings. This is non-fiction at its very best. Kudos to Greenberg, Jordan, and Parker



2. This book is so very well done -- lots of biographical facts woven into a beautifully illustrated story from the most peaceful and productive phase of Pollock's life. Just right for younger elementary school students -- and also good for older ones when you add the fuller biography in the back. A really wonderful book about an important artist and about making art.



3. This book is an unusual children's book and about a character whose artwork will appeal to children. Although his life is not an uplifting story, the book picks up on the important parts and gives a feeling for what "Action Jackson" was all about. His freedom to create what he wanted and put his feeling on canvas is an important message to children who need to know that there are many way to be creative. That is it is OK to put their feeling into their art without worrying about whether it is "right" or "good". It is a quiet book about an artist who was quiet but whose life was certainly active as was his art.



4. I am am Elementary Art teacher and I use this book in my classroom. The children love the story. I personally like how the children can get into the world of "Action Jackson" without knowing the actions of Jackson.

3 comments about Jackson Pollock (Getting to Know the World's Greatest Artists).

1. I took last summer my two daugthers, age 6 and 9 to the Museum of Modern Art in New York. They loved it and each one choose her favorita artist. The younger one, Isabel, loved Picasso. Who doesn't?. My older daughter, Camila loved the american artist Jackson Pollock, she sat in front of his masterpiece One, admiring all that aparently no-sense. Its beautiful, she told me, and I sure can do that. She's not very good in art class and she felt identified with this painter's work. Wanting to explain his art I found a wonderful book, part of a series written by Mike Venezia about the great artists. In the case of Jackson Pollock, the author mixing words, comics and paintings explains in a fun way the wonders of the work of this artist. Pollock was the brother of a painter and went to study art as his brother did in New York, he tought he wasn't very good at it. But working and studyng with contemporary painters helped to create his personal style making him one of America's biggest contemporary artist. Try explaining that to your kid, don't bother. Mike Venezia will do the job.



2. Mike Venezia's Getting to Know the World's Greatest Artists series is dedicated to the principle of introduction children to art and artists in fun ways. His primary way of doing that is to draw engaging cartoons that highlight not only biographical information about his subjects, but which also focus on key elements of the artist's work. That means this book about Jackson Pollock plays to Venezia's strengths, and he gets to do two jokes about using an eggbeater. If you count the front and back covers, Venezia gets to do nine of his cartoons, which may not be a record but it sure seems like one for this series, which also provides solid introductions to great artists from Da Vinci to Dali.
   
   This book begins by pointing out that Pollock was one of hte greatest artists of the 20th century and that he was best known for huge paintings made by slapptering, throwing, and dripping paint onto this canvases. Then Venezia spends the rest of this informative and entertaining volume explaining how the latter leads to the former. Young readers learn how Pollock painted, what his work was called (Abstract Expressionism) versus what he called it (Action Painting), and how they emphasized emotions and energey rather than recognizable objects. The middle part of the books covers the key aspects of Pollock's life, but the best part is when Venezia details how Pollock developed his style, because that is where young readers are going to get a mini-education in art history.
   
   Early on Pollock was trying to paint like Thomas Hart Benton, and Venezia contrasts Benton's "Arts of the West" with Pollock's "Going West," to show how that did not really work out. Paintings by Jose Clemente Oroczco and Pablo Picasso's "Guernica" also become reference points as Venezia traces the evolution of Pollock's art, culminating in "Blue Poles." The book touches on Pollock's unhappinesss without getting into detail, but that is appropriate for an introductory look at his life and art. In the end, Venezia underscores how Pollock was not just throwing paint around and that he knew exactly what he was doing. It is suggested that seeing Jackson Pollock's paintings in person is a good thing, so it is helpful that Venezia explains where the paintings in this book come from so you have an idea of where to go to see some of them (but be careful, because some of these references are for the works by the other artists).



3. Informative book about the late author for elementary school level children. Also a great artist to study and try to replicate. My students have a blast learning about Jackson Pollock then creating their own splattered masterpiece!

5 comments about Jackson Pollock: An American Saga.

1. This is one of the most interesting biographies I've read in a long time. I think Pollock is mostly misunderstood. He was a very good painter, but he's a simple guy, looking to be famous to make a few bucks, have a few kids, and remain relatively on the level, but Lee Krasner knew better. Pollock hated "phonies" and felt he had became one after the Look article, etc.. Here you'll find all those wonderful Pollock stories in fine detail. Like him pissing into peggy Guggenhiem's fireplace during a cocktail party. This book will give you the history of that period like no other, and a feel for what it's like to be an ambitious artist in the New York art world. Great supporting cast in Lee Krasner, Clement Greenberg, Peggy Guggenhiem, and all those painters!



2. Whenever I hear the phrase "exhaustively researched," I will think of this book. The authors interviewed over 800 people! The notes section is extensive and detailed, so if you wonder where they (Naifeh/Smith) got a quote, go to the back of the book and find out. I have been lugging this book around for about three weeks (the hardcover copy is over 800 pages and must weigh over 5 lbs), ever since I saw the movie "Pollock" with Ed Harris and decided to read the book it was based on. This is a thorough biography of Jackson Pollock. It starts with his grandparents to give you a good idea of how Jackson came to be. I am not an artsy person (at least, I don't pay much attention to artwork) and don't know much about artists (aside from the music appreciation class I took in college, which I enjoyed), so this was an eye-opener for me. The only Pollock painting I had ever seen before reading this book was the one briefly shown an episode of "Sex and the City." I very much enjoyed this book. It clearly showed the connection between Pollock's art and his life. His childhood deeply affected him and the trauma he still felt (along with repressed homosexuality) came out in his art--when he would let it. Although I didn't enjoy the overview of Jungian psychology, it was necessary to know the basics to understand how Pollock's interaction with a Jungian psychologist helped his art, if not his emotional trauma. The book is competently written, which is good considering its length and complexity. A few things I found somewhat irritating and distracting from the main focus of the book was the embellished or fictionalized accounts of Pollock and what he may have been thinking or thought. How do they (writers) know? They should have stuck to the research, and not included how they imagined something happened or how Pollock thought--that takes away from the seriousness of the book. The end of the book, when Pollock is driving drunk and crashes the car, is a good example of that. It reads like a novel: "For an instant, everything was silent--except the air rushing by. Escape velocity: he had finally reached it." Although I like the imagery, I am not sure if an extensively researched biography is the place for it. Also, that sentence (and ones preceding and following it) seem to imply that Jackson knew what he was doing and killed himself. This could be true, since Pollock had a fascination for driving fast (and drunk) and not caring about the consequences, but whether it was accident or he meant to die is unknown, and the writers shouldn't imply one over the other. The other thing that bugged me was the extent of the information. That is, not only do we get mini-biographies of people who influenced Pollock, but we get mini-biographies of the people who influenced the people who influenced Pollock! It got to be a little crazy, trying to digest (and remember) all this information. Overall, though, I enjoyed the book. It was an intellectually stimulating and sad story of misunderstood artist. I wish I had read this book before seeing the Pollock painting (one of his big "drip" ones)at Ontario Museum of Arts (I think that is what it was) in Toronto. I would have appreciated it more.



3. Must admit that when I received this tome in the mail, it took me weeks even to pick it up and look at it, as it seemed just well over-the-top in length and weight for the story of this one man or for a summer read. But as soon as I began, I was off. The writers carry you along like the best fiction writers, and in the meantime you get an inside peak at an entire era -- the times, the mood, the other people around and active in the American modern art movement. It almost seems impossible that the authors were able to gather so much detail to make this so vivid! I became attached to it like a favored novel. Only one criticism--the last multiple chapters are all about his post-production, post-return to drinking, destructive downhill spiral. After a while, this portion became repetitive as in "enough already, I don't need to hear about his destroying yet another set of lawn furniture." At some point well before the end, I the reader wanted to jump in the book and put him out of his misery. Still -- what an American tragedy and must read.



4. Monstrous, pathetic, sexually dysfunctional, violent, coarse, demanding, uncommunicative and, most famously, a terrible, terrible drunk - all the bad boy stuff is here. Read it for that and also for the background which includes generous looks at the early 20th century American West, Depression era New York, Abstract Expressionism and the artistic infighting it occasioned. I don't start 800 plus pages of reading lightly any more given my age and the books that demand my attention but this biography got its hooks into me and wouldn't let go.



5. The writers have given us a very detailed view of the painter. When I finished the book I had a lot less respect for the man(he comes across as self-centered, insecure and immature), and more respect for his paintings. There was a little too much unnecessary psycho-speculation and they should have let us draw our own opinions.