i-xxii Front matter.qxd - Brandeis Institutional Repository

Notes / 18143. Gombrich, “The Experiment in Caricature,” Art and Illusion (Princeton: PrincetonUniversity Press, 1960), 355.44. Paul Enkman and Wallace Freisen, Unmasking the Face (Englewood Cliffs, N.J.:Prentice Hall, 1975), 24–27.45. Roland Barthes, Camera Lucida (New York: Hill and Wang, 1981), 34.46. Ibid.47. Sanford Sivitz Shaman, “An Interview with Philip Pearlstein,” Art in America 69/7(September 1981), 122.Chapter 3. Starting Out from Home (pp. 29–41)1. Virginia Woolf, A Room of One’s Own (Orlando, Fla.: Harcourt, Brace, Jovanovich,1929; 1957), 103–105.2. Sculley Bradley, Richmond Croom Beatty, and E. Hudson Long, eds., The AmericanTradition in Literature, vol. 2 (New York: W. W. Norton/Grosset and Dunlap,1967), 1027, 1029.3. Married in the summer of 1925, Alice, evidently con„icted about married life, didnot follow Carlos to Cuba until January 1926. According to the Belchers, after Santillanawas born on December 26, 1926, Neel “complained that Carlos’s familynever left her alone . . . [W]hen she relented and took her daughter to visit them,she was forced, despite her protests, to defer to their social mores and sit apart—with the women.” From their interviews, the Belchers draw the conclusion that“Her departure seems to have been an attempt to force him [Carlos] to choose between. . . the world of independence and the continued dependence on this fatherfor whatever income he received.” Gerald L. Belcher and Margaret L. Belcher,Collecting Souls, Gathering Dust: The Struggles of Two American Artists, Alice Neeland Rhoda Medary (New York: Paragon House, 1991), 83.4. Neel provided a narrative of her breakdown in her autobiography (Patricia Hills,Alice Neel [New York: Abrams, 1983], 29–40), which is summarized with greaterdetail and coherence in Belcher and Belcher, ch. 9.5. Charlotte Willard, “In the Art Galleries,” New York Post, (January 16, 1966).6. Sherwood Anderson, Winesburg, Ohio (New York: Penguin Books, 1987), p. 28.7. Robert S. Lynd and Helen Merrell Lynd, Middletown: A Study in American Culture(New York: Harcourt, Brace, 1925; 1929), 129.8. James Patterson, America in the Twentieth Century: A History (San Diego: Harcourt,Brace, Jovanovich, 1989), 193.9. The Lynds noted that “It is perhaps impossible to overestimate the role of motionpictures, advertising and other forms of publicity in this rise in subjective standards. . . [A]dvertising is concentrating increasingly upon a type of copy aiming to makethe reader emotionally uneasy” (Ibid., 82). Lillian Breslow Rubin’s Worlds of Pain:Life in the Working-Class Family (New York: Basic Books, 1976) documents the factthat “in the working class, the process of building a family, of making a living for it,of nurturing and maintaining the individuals in it costs ‘worlds of pain.’” (215).