1964
Periodicals
Cambridge Opinion, Cambridge, no.37, Jan. 1964, issue title: Modern Art in Britain, edited by MP. (Texts by MP: “Editorial”, p.2 [unsigned]; “From a conversation with Francis Bacon”, pp.48-49 [“The passages above have been condensed from a number of conversations between Francis Bacon and the Editor that took place in August and December 1963” – p.49; reprinted in “Three interviews with Francis Bacon” in Francis Bacon: a retrospective, catalogue of exhibition at Yale Center for British Art, New Haven, CT, & travelling, New York: Harry N. Abrams, Inc.,1999, pp.38-50; reprinted with Spanish & Valencian translations in “Three interviews with Francis Bacon = Tres entrevistas con Francis Bacon” = “Tres entrevistas amb Francis Bacon” in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition curated by MP at IVAM Institut Valencià d’Art Modern, 2003, & travelling, pp.186-188, 276-277; reprinted as “Interview One: From a conversation with Francis Bacon” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.14-17; German translation published as “Interview I” in Gespräche in der Nacht: Francis Bacon über seine Arbeit, Piet Meyer Verlag, Bern, 2011, pp.59-62; fragment reprinted in Fondation Beyeler: The Collection [in English, German & French], Riehen/Basel: Fondation Beyeler; Ostfildern: Hatje Cantz, 2017; revised edition 2026; reprinted in Conversatons: Francis Bacon, Strasbourg: L’Atelier contemporain, 2019, pp.35-37; fragment reprinted as “On intuition and sensation” in Francis Bacon: a self-portrait in words: statements, letters, studio notes, and selected interviews (2024), pp.26-27]; “A letter to Frank Auerbach”, pp.50-51 [dated 1 Dec. 1963, followed by a text in reply by the artist]).
“U.S. sculptor” [review of exhibition by Shinkichi Tajiri at Hamilton Gallery, London], The Observer, London, 21 June 1964, p.24.
“Gallery guide” [review of exhibitions by J.M. Cruxent at Couper Gallery, Terezin artists at Ben Uri Gallery, & Anthony Green at Rowan Gallery, London], The Observer, London, 5 July 1964, p.24.
“Gallery guide” [review of exhibitions by Picasso at Gimpel fils, James Lloyd at Portal Gallery, & Sidney Nolan at Qantas Gallery, London], The Observer, London, 12 July 1964, p.23.
“Gallery guide” [review of exhibitions by Kandinsky et al. at Hamilton Gallery, & Modern Masters at Marlborough Gallery & New London Gallery], The Observer, London, 19 July 1964, p.20
“Gallery guide” [review of exhibitions by Francis Hewlett at New Art Centre, Bridget Riley et al. at Robert Fraser Gallery, & Jean-Robert Ipoustéguy at Hanover Gallery, London], The Observer, London, 12 Aug. 1964, p.21.
1966
Periodicals
“Nicolas de Staël: ‘To be an artist is to live like a tree, not hurrying its sap, but waiting for summer’”, Réalités (édition anglaise), Paris, 1966, pp.67-75.
[Joachim Patinir], Réalités (édition anglaise), Paris, 1966.
“Aubrey Beardsley: the deadly nightshade that bloomed in Granny’s parlour”, Réalités (édition anglaise), Paris, 1966, pp.54-61; reprinted as “Aubrey Beardsley’s brief brilliance” in Artists’ lives (2023), pp.55-61.
“Gustav Klimt: revelation of the ‘Art Nouveau’ revival”, Réalités (édition anglaise), Paris, June 1966, pp.68-75; reprinted as “Gustav Klimt on the swing of fashion” in The making of modern art: selected writings (2020), pp.48-53.
“The buried art of the steppes” [on Scythian art] in Réalités (édition anglaise), Paris, Dec. 1966, no.193, pp.86-93.
1967
Periodicals
“Inside every museum there’s a Dubuffet struggling to get out”, Réalités (édition anglaise), Paris, 1967, pp.58-61; reprinted as “Jean Dubuffet’s war with culture” in Artists’ lives (2023), pp.130-134.
“Réalités Author of the Month: Peter ling’s ‘Niembusch oder der Stillstand’”, Réalités (édition anglaise), Paris, 1967, pp.64-66, 93-98 [unsigned]
“The ten thousand silken poems of Ch’i Pai-shih”, Réalités (édition anglaise), Paris, Jan. 1967, pp.60-63.
“Bonnard: troubled oils on calm water”, Réalités (édition anglaise), Paris, Apr. 1967, pp.70-76, 99; reprinted as “The darker side of Pierre Bonnard” in Artists’ lives (2023), pp.50-54.
“Sculpture as landscape: moving mobiles into the garden” by “Michael Henry”, Réalités (édition anglaise), Paris, Oct. 1967, pp.85,98; reprinted as “Alexander Calder sets all forms free” in The making of modern art: selected writings (2020), pp.195-196.
“Balthus: waker of dreams”, Réalités (édition anglaise), Paris, Oct. 1967, pp.52-57; reprinted as “Balthus, Villa Medici Rome 1966” in Interviews with artists, 1966-2012 (2012), pp.172-177.
1968
Periodicals
[Pierre Bonnard], Réalités (édition anglaise), Paris, 1968.
“The art of Francis Bacon”, Mundus Artium, Dallas, TX, vol.II no.1, Winter 1968, pp.52-55 [states that this is a revised version of text published in French in Derrière le Mirroir, no.162, Nov. 1966, published on the occasion of exhibition at Galerie Maeght, Paris, 1966, but the text does not appear there].
“The twilight of the dark gods” [on African tribal art], Réalités (édition anglaise), Paris, no.206, Jan. 1968, p.64.
“Interview: Michael Peppiatt talks to an exiled Greek composer whose latest work is dedicated to political prisoners [Iannis Xenakis]”, The Sunday Times, London, no.7571, 7 July 1968, p.49.
“Art in Milan: Triennale’s promise bright” [review of 14th Triennale in Milan], International Herald Tribune, New York, 16 July 1968.
“Around Paris galleries” [review of exhibitions by American artists at Galerie Darthea Speyer, of contemporary tapestries at La Demeure, by Joseph Duncan at Galerie Jacques Casanova, & Kinetic Art at Galerie Denise René, Rive Gauche], International Herald Tribune, New York, 10 Sept. 1968.
“News in the Arts: Can writers keep up the revolution? – Michael Pepiatt [sic] in Paris” [on Philippe Sollers, the Union des écrivains, new films, Laurent Terzieff, & exhibition of Mayan Art at the Grand Palais], The Sunday Times, London, no.7594, 15 Sept. 1968, p.57.
“Around Paris galleries” [review of exhibitions of new-format books at Galerie Delpire, Modern Masters at Galerie Berggruen, hunting scenes at Galerie du Verseau, & drawings at Galerie Jean Camion], International Herald Tribune, New York, 17 Sept. 1968.
“How Art Nouveau grew old”, Réalités (édition anglaise), Dec. 1968, pp.78-81.
“Interview: Michael Peppiatt meets the satirist of De Gaulle’s Great Society [Roland Topor]”, The Sunday Times, London, no.7592, 1 Dec. 1968, p.65.
“Francis Bacon’s new paintings” [review of exhibition at Marlborough-Gerson Gallery, New York], Art International, Lugano, vol.XII no.10, Christmas [20 Dec.] 1968, pp.35-38.
“Paris letter” [review of exhibitions of works by Vuillard, Beckmann, Calder, Henri Michaux, Rauschenberg, Lilian Florsheim, Risa, Karel Appel, Niki de Saint-Phalle, Damian & Erró], Art International, Lugano, vol.XII no.10, Christmas [20 Dec.] 1968, pp.59-61.
1969
Periodicals
“Decoration in the age of the consumer: Vasarely: multiples for the masses”, Réalités (édition anglaise), Paris, 1969, pp.50-53 (as Jonathan White)
“Decoration in the age of the patron: Pisanello: painting for princes”, Réalités (édition anglaise), Paris, 1969, pp.54-57.
“Carrier: a profile of Robert Carrier, the American whose sun emblem stands for a revolution in London eating”, Réalités (édition anglaise), Paris, 1969, pp.68-69 (as Michael Henry)
“The commitment of being Neutra”, Réalités (édition anglaise), Paris, 1969, pp.44-, 92.
[Alexander Calder], Réalités (édition anglaise), Paris, 1969 (as Michael Henry)
“Paris letter” [review of exhibitions by Sima, Chillida, Pierluca, Ipoustéguy, Schöffer, Francisco Sobrinio, Nicolas de Staël, Bram van Velde, Peter Klasen, Olivier Mosset, Sonia Delaunay, Yves Klein & Maréchal, & on Charles Baudelaire], Art International, Lugano, vol.XIII no.1, 20 Jan. 1969, pp.58-60, 64.
“Paris letter” [review of exhibitions by Sam Francis, Anna-Eva Bergman, Folon, Victor Brauner, Gúnther Uecker, Giorgio Morandi, Cremonini, Busse, Pierre Lepatre, Wostan & Michelle Morgan], Art International, Lugano, vol.XIII no.2, 20 Feb. 1969, pp.54-58.
“Writers at work” [unsigned section on new books by Claude Lévi-Strauss, Michel Butor, Georges Simenon, Heinrich Böll, Günter Grass], The Sunday Times, London, no.7606, 9 Mar. 1969, p.57 (Sunday Times Weekly Review).
“Paris letter” [review of the exhibition Architectures méconnus, architectes inconnus at Musée des Arts Décoratifs, & of exhibitions by Piet Mondrian, Yves Klein, Hans Hartung, Roland Michenet, Kosta Alex, Marcelle Maltais, Arakawa, Gilberto Zorio, Renoir, Lucio Fontana & Picasso], Art International, Lugano, vol.XIII no.3, 20 Mar. 1969, pp.51-55.
“Paris” [review of exhibitions by Alain Jacquet, Yves Klein, Jean-Pierre Raynaud, Alain Le Yaouane, René Magritte, Boto, Vardanega, Arman & Fassianos], Art International, Lugano, vol.XIII no.4, 20 Apr. 1969, pp.41-44.
“Maria Casares: happy ending to a Spanish tragedy” [interview], Réalités (édition anglais), Paris, May 1969, pp.54-57.
“Paris” [review of exhibitions by Berrocal, Asger Jorn, Archipenko, Rebeyrolle, Max Ernst, Nicolas de Staël, George Segal, John McCracken, Fritz Klingbeil, Tabuchi, Esther Brunner & Lorris Junec], Art International, Lugano, vol.XIII no.5, 20 May 1969, pp.44-47
“Paris” [review of exhibitions by Alberto Giacometti, Karel Appel, Hans Bellmer, Pierre de Maria, Reynold Arnould, Cesare Peverelli, Erté, John Day, Bolin, Horst-Egon Kalinowski, Louise Nevelson, Yves Navarre & Dietmann], Art International, Lugano, vol.XIII no.6, Summer 1969, pp.53-56.
“Les echos du ‘Quatuor d’Alexandrie’” [on Lawrence Durrell’s Alexandria Quartet], in “Deux lectures du roman”, Le Monde, Paris, 12 July 1969, Supplement au numero 7618, p.IV.
“Paris letter” [review of exhibitions by Paul Delvaux, Arman, Soto, Kandinsky, Van Thienen & Fromboluti], Art International, Lugano, vol.XIII no.7, Sept. 1969, pp.74-76.
“Nicolas de Staël’, Réalités (édition anglais), Sept, 1969, pp.67-75.
“The South of France” [review of exhibitions by Victor Vasarély, Matisse, Jean Lurçat & Maurice-Elie Sarthou], Art International, Lugano, vol.XIII no.8, Oct. 1969, pp.73, 79
“Around Paris galleries” [review of exhibitions of Canadian artists at Galerie de France, Far Eastern artists resident in France at Galerie Roger & Gallet, & Brice Marden at Galerie Yvon Lambert], International Herald Tribune, New York, 4-5 Oct. 1969.
“Around the Paris galleries” [review of exhibitions by Georges Mathieu at Galerie Rive Droite, César at Galerie Mathias Fels, Tapiès at Galerie Maeght, & Jacob Weidemann at Galerie Ariel], International Herald Tribune, New York, 18 Oct. 1969.
“Paris” [review of exhibitions by Vieira da Silva, Iannis Kounellis, Pino Pascali, Mario Ceroli, Gino Marotta, Brice Marden, Ger Lataster, Darthea Speyer, André Turpin, Bolivar, Antoniucci & six Canadian artists], Art International, Lugano, vol.XIII no.9, Nov. 1969, pp.53-57.
“Around Paris galleries” [review of exhibitions by Peter Saul at Galerie Darthea Speyer, Gustav Klimt at Galerie 3 + 2, Seymour Rosofsky at Galerie du Dragon, & Meret Oppenheim at Galerie Claude Givaudan], International Herald Tribune, New York, 1 Nov. 1969.
“Paris” [review of exhibitions by Anselmo, Peter Saul, Vieira da Silva, Georges Mathieu, Fernando Botero, Rosofsky, César, Tapiès, Gustav Klimt & Finn Hauptmann], Art International, Lugano, vol.XIII no.10, Christmas 1969, pp.76-79.
1970
Periodicals
“Paris” [review of exhibitions by Alberto Giacometti, Ipoustéguy, Heinz Stangl, Saura, Meret Oppenheim, Jim Dine, Cottavoz & Max Bill], Art International, Lugano, vol.XIV no.1, 20 Jan. 1969, pp.81-84.
“Paris” [review of exhibitions by Paul Klee, Leonardo Cremonini, Chagall, Baj & Michael Adams], Art International, Lugano, vol.XIV no.2, 20 Feb. 1970, pp.74-76.
“Fiction in France: Michael Peppiatt: Inner circle” [on new novels by Jacques Henric, Jean-Claude Montel, Jean Pierre Faye & Patrick Modiano], The Times, London, 21 Mar, 1970, p.v (in The Times Saturday Review: Fiction Today).
1971
Periodicals
“Victor Hugo, draughtsman” [review of an exhibition of drawings by Victor Hugo in Maison Victor Hugo, Paris, 1971], unpublished at the time, published for the first time in The making of modern art: selected writings.(2020), pp.14-18 [“This essay was written in 1971 for Art International, but I can find no trace of its having been published there or elsewhere.” – p.250].
“Prizes, reviews, symbols and lost causes” [on the award of the Prix Goncourt to Michel Tournier’s Le Roi des Aulines, other book awards, etc.], The Times, London, 4 Jan. 1971, p.8.
“Le théâtre: ’Lear’, d’Edward Bond” [review of play at the Royal Court Theatre, London], Le Monde, Paris, 9 Oct. 1971, p.23.
“Grande-Bretagne: Les anathèmes de George Steiner” [review of In Bluebeard’s Castle], Le Monde, Paris, 5 Nov. 1971, p.24.
“The Sartre archive on Flaubert heads French writing in 1971” [on Sartre’s L’Idiot de la famille, and other bestselling books], The Times, London, 16 Dec. 1971.
“Grande-Bretagne: Ezra Pound vu par sa fille: les “Discretions”, de Mary de Rachelwitz” [review], Le Monde, Paris, 31 Dec. 1971, p11.
1972
Periodicals
“Henri Michaux: Painter poet”, Art International, Lugano, vol.XVI no.1, 20 Jan. 1972, pp.28-33, 36; reprinted as “Henri Michaux: painter-poet” in Artists’ lives (2023), pp.114-129.
“Romans anglais: John Le Carré: de l’espionage à l’amour” [review of the French translation of The naive and sentimental lover], Le Monde, Paris, 18 Feb. 1972, p.15.
“Avignon Festival”, Financial Times, London, 16 Mar. 1972.
“Shona sculpture: An African renaissance” [on the occasion of exhibition in Musée Rodin, Paris], Art International, Lugano, vol.XVI no.3, 20 Mar. 1972, pp.20-21, 62-63.
“Paris exhibitions: Otto Dix’” [review of exhibition at Musée d’Art Moderne de la Ville de Paris], Financial Times, London, 24 Mar. 1972, p.3; reprinted as “Otto Dix: ‘That’s how it was’” in The making of modern art: selected writings.(2020), pp.81-82.
“Paris theatre: Le Comte Öderland”, Financial Times, London, 5 Apr. 1972; reprinted in issue for 6 Apr. 1972.
“Richard III in Paris” [theatre review], Financial Times, London, 8 Apr. 1972.
“L’art britannique” [review of special issue of Art Vivant on “The arts in Great Britain”], Financial Times, London, 29 Apr. 1972.
“Exhibitions in Rome” [review of exhibitions by Bruno Caruso, Pasquale Verrusio, Picasso, Lucio Fontana, Dalí & Giorgio de Chirico], Financial Times, London, 2 May 1972.
“Grande-Betagne: Des ‘Penguins’, des ‘Pelicans’ et autres oiseaux…” [on the publications of Penguin Books], Le Monde, Paris, 5 May 1972, p.23 (as Michael Henry).
“Paris theatre: Théâtre des Nations – I”, Financial Times, London, 9 May 1972.
“Festival du Marais”, Financial Times, London, 25 May 1972.
“Firenze restaura” [review of exhibition in Fortezza de Basso, Florence], Financial Times, London, 27 May 1972.
“The French touch” [review of exhibition f’Twelve years of contemporary art in France’ at the Grand Palais, & of exhibitions by Jean-Pierre Raynaud & Georges de la Tour], The Art Gallery, Ivoryton, CT, vol.XV no.10, Summer 1972, pp.56-57.
“Théâtre des Nations – II”, Financial Times, London, 2 June 1972.
“Grande-Bretagne: Quand les intellectuels rencontrèrent le fascisme” [review of The appeal of fascism: a study of intellectuals and fascism 1913-1945 by Alastair Hamilton], Le Monde, Paris, 9 June 1972, p.23..
“Paris exhibitions” [review of exhibition “Douze ans d’art contemporain en France” at the Grand Palais, & of exhibition by Alberto Burri], Financial Times, London, 26 June 1972.
[Paris exhibitions], Financial Times, London, 28 June 1972.
“French theatre: Marais Festival”, Financial Times, London, 29 June 1972, p.3.
“Paris exhibitions” [review of Surrealist exhibition in Musée des Arts Décoratifs, & of exhibitions by George Segal & Pierre Soulages], Financial Times, London, 8 Aug. 1972, p.3; reprinted in issue for 10 Aug. 1972, p.3..
“Fondation Maeght, Saint-Paul-de-Vence: Between earth and sky…’ [review of retrospective exhibition of Nicolas de Staël], Financial Times, London, 31 Aug. 1972.
“Fondation Maeght, Saint-Paul-de-Vence: Between earth and sky…” [review of exhibition of Nicolas de Staël], Financial Times, London, 31 Aug. 1972.
“Paris in the summertime” [theatre review], Financial Times, London, 16 Sept. 1972.
“Paris: Summer on the Seine’ [review of exhibitions by Alberto Burri, Pierre Soulages, Ipousteguy & Nicolas de Staël, & of Surrelist art at the Musée des Arts Décoratifs], The Art Gallery, Ivoryton, CT, vol.XVI no.1, Oct. 1972, pp.81-82.
“Paris letter: Summer” [review of exhibitions by Alberto Burri, Louis Fernandez, Victor Brauner, Georges de la Tour, Pierre Soulages, Ipousteguy, Paul Wunderlich, Peter Klasen, Delfo, Fromboluti, Corpora & Francesca Chandon, & exhibition Le Surrèalisme 1922-1942 at the Musée des Arts Décoratifs], Art International, Lugano, vol.XVI no.8, Oct. 1972, pp.54-60.
“États-Unis: Les douleureuses lucidités de Sylvia Plath” [review of the French translation of The bell jar], Le Monde, Paris, 13 Oct. 1972, p.23.
“From Anouilh to Mnouchkine” [theatre reviews], Financial Times, London, 14 Oct. 1972.
“Paris: The autumnal mood” [review of exhibitions by Kandinsky, Delacroix, Richard Luboski & Hans Bellmer], The Art Gallery, Ivoryton, CT, vol.XVI no.2, Nov. 1972, pp.74-75.
“Paris: La rentrée” [review of exhibitions by Kandinsky, Jean-Paul Riopelle, Michaux & Bellmer, & exhibitions on Diaghilev & of the Olmec art of Mexico], Art International, Lugano, vol.XVI no.9, Nov. 1972, pp.49-53.
“Paris theatre: World view”, Financial Times, London, 6 Nov. 1972, p.3.
“Paris: Agam, Hayter and others” [review of exhibitions of Agam, Stanley William Hayter, Denise Esteban & Sam Szafran, & of 23rd Salon de la Jeune Peinture], The Art Gallery, Ivoryton, CT, vol.XVI no.3, Dec. 1972, p.73.
“Paris: Mid-October” [review of exhibitions by Agam, Takis, William Hayter, Denise Esteban, Richard Luboski & Liliane Lijn], Art International, Lugano, vol.XVI no.10, Dec. 1972, pp.47-52.
“Paris exhibitions: Man and his environment” [review of exhibition of African sculpture, & of exhibitions by Agam, William Hayter & the 23rd Salon de la Jeune Peinture], Financial Times, London, 6 Dec. 1972.
“Architecture in Paris: Filling a hole in French culture” [on the proposed Contemporary Art Centre, i.e. Centre Pompidou], New York Times, New York, 17 Dec. 1972, p.29..
“A new arts centre for Paris” [on the proposed Centre Beaubourg], Financial Times, London, 30 Dec. 1972.
1973
Periodicals
“Paris: Out of Africa” [review of exhibitions of African art at the Orangerie & the American Hyperrealists at Galeriedes 4 mounvements, & or exhibitions by Kandinsky,Tal-Coat & Jean Amado] ], The Art Gallery, Ivoryton, CT, vol.XVI no.4, Jan. 1973, p.73.
“Paris: Mid-November’ [review of displays of Egyptian & African art at the Louvre & the Orangerie, & exhibitions by Ossip Zadkine, Barnett Newman, Kandinsky, Graziani, Tal-Coat, American Hyperrealists, Peter Saul, Jean Amado, Sam Szafran, Reinhoud & Journiac], Art International, Lugano, vol.XVII no.1, Jan. 1973, pp.37-41.
“Paris theatre”, Financial Times, London, 1 Jan. 1973.
“Amsterdam theatre: Mabou Mines”, Financial Times, London, 4 Jan. 1973.
“George Steiner lauréat du Prix Cortina-Ulisse”, Le Monde, Paris, 18 Jan. 1973 (by F.W.).
“Paris: A bit of everything” [review of exhibitions by Pol Bury, Sonia Delaunay, Vito Acconci, Zqo Wou-ki, Peng Wan-ts, Fernando Botero & Auguste Herbin], The Art Gallery, Ivoryton, CT, vol.XVI no.5, Feb. 1973, p.76.
“Paris: Mid-December” [review of exhibitions by Pol Bury, Zoltan Music, Sonia Delaunay, Acconci, Tapies, Peng Wan-ts, Zao Wou-ki, Botero, Sergio de Castro & Auguste Herbin, & at Yvon Lambert & Galerie Sonnabend], Art International, Lugano, vol.XVII no.2, Feb. 1973, pp.24-26.
“Amsterdam ancient and modern” [on the Rijksmuseum and Stedelijk Museum], Financial Times, London, 3 Feb. 1973.
“‘Paris exhibitions” [review of exhibitions of Courbet, Malevich & Gilbert and George], Financial Times, London, 8 Feb. 1973.
“Paris: Gathering steam” [review of exhibitions by Hubert Yencesse, Gilbert & George,Sol LeWitt, Don Judd, Berrocal, Sieff & Picasso], The Art Gallery, Ivoryton, CT., vol.XVI no.6, Mar. 1973, p.82.
“Paris: Mid-January” [on the proposed Centre Beaubourg, & review of exhibitions by Malevich, Baranov-Rossiné, Hubert Yencesse, Gilbert & George, Sol LeWitt, Don Judd, Gina Pane & Picasso], Art International, Lugano, vol.XVII no.3, Mar. 1973, pp.51-53.
“Paris: Signs of ferment and renewal” [on the proposed Centre Beaubourg], Art News, New York, vol.72 no.3, Mar. 1973, pp.57-58.
“Paris” [review of exhibitions of Courbet’s self-portraits’, & of Alberto Magnelli, Calder, Bissière, Robert Morris, Michael Farrell, Robert Mangold, Louis Cane, Beauford Delaney, Fromanger, Domingo Alvarez & Mondrian], Art International, Lugano, vol.XVII no.4, Apr. 1973, pp.68-71
“Paris: Light in winter” [review of exhibitions by Courbet, Calder, Robert Morris, Louis Cane Beauford Delaney & Domingo Alvarez, & of Pompeiian art at the Grand Palais, & English painting today at the Musée d’art moderne de la ville de Paris], The Art Gallery, Ivoryton, CT, vol.XVI no.7, Apr. 1973, p.78.
“Paris: ’English painting today’ [review of exhibition at the Musée d’art moderne de la ville de Paris], Art News, New York, vol.72 no.4, Apr. 1973, p.42.
“The natural heritage” [on Shona sculpture], Financial Times, London, 28 Apr. 1973; another edition has the title “Art in Rhodesia: The Shona revival”.
“Paris” [review of the exhibitions Equivoques at the Musée des Arts Décoratifs, of Scythian art at the Grand Palais, & English art today at the Musée d’Art Moderne de la Ville de la Paris, & exhibitions by Rebeyrolle, Alechinsky, Yves Klein, John Downing, Heinz Mack & Rougemont], Art International, Lugano, vol.XVII no.5, May 1973, pp.47-50.
“Paris: Skeletons in the cupboard” [review of the exhibition Equivoques at the Musée des Arts Décoratifs], Art News, New York, vol.72. no.2, May 1973, pp.59-60.
“Soutine as artist and victim” [review of exhibition at Musée de l’Orangerie, Paris], New York Times, New York, 27 May 1973, p.19; reprinted as “Soutine as artist and victim” in The making of modern art: selected writings.(2020), pp.83-85.
“Paris” [review of the exhibition Painters’ sculptures at the Musée Rodin, & exhibitions by William Sandberg, Jean-Michel Sanejouand, Velickovic, César, Alain Lestié, Pavlos, Jacques Monory, Martin Kanin, Jean-Jules Chasse-Pot, Zbigniev Makovski, Fernando Maza & Sklavos], Art International, Lugano, vol.XVII no.6, Summer 1973, pp.46-49.
“The creative influence of Tériade”, New York Times, New York, 8 July 1973, p.21; reprinted as “Tériade, publisher genius” in The making of modern art: selected writings (2020), pp.97-99.
‘[Jacques] Monory’, Financial Times, London, 31 July 1973.
“In both Berlins, a lack of new creative power”, New York Times, New York, 12 Aug. 1973, pp.1, 21-22 (titles on p.21: “In West Berlin, lulled by material success…” & “… in East Berlin”; title on p.22: A look at both Berlins”).
“Paris exhibitions: Treasures from the East” [review of exhibition in the Bibliothèque Nationale],, Financial Times, London, 14 Aug. 1973.
“Paris: Summer” [review of exhibitions of Egyptian art at the Grand Palais & of Chinese art at the Petit Palais, & exhibitions by Soutine, Raymond Mason, Michael Warren, Serge Poliakoff, Jérôme Didier, Jean-Pierre Hamer & Dado], Art International, Lugano, vol.XVII no.7, 20 Sept. 1973, pp.42-44.
“A fabulous show of ancient art from China” [review of exhibition at the Petit Palais, Paris], Art News, New York, vol.72 no.7, Sept. 1973, pp.60-61
“Paris arts calendar” [forthcoming exhibitions]. Financial Times, London, 7 Sept. 1973.
“Saint-Paul-de-Vence: For André Malraux” [review of exhibition at the Fondation Maeght], Financial Times, London, 18 Sept. 1973.
“It’s like looking at the mind of André Malraux” [review of exhibition André Malraux at Fondation Maeght, Saint-Paul-de-Vence], New York Times, New York, 23 Sept. 1973, p.25; reprinted as “Inside the mind of André Malraux” in The making of modern art: selected writings.(2020), pp.104-106.
“Paris: Malraux, Balthus, Tériade” [review of exhibition devoted to Malraux at Fondation Maeght, Saint-Paul-de-Vence, & Tériade at the Grand Palais, Paris, & exhibition of Balthus at the Musée Cantini, Marseilles], Art News, New York, vol.72 no.8, Oct. 1973, pp.69-70.
“Balthus, Klossowski, Bellmer: Three approaches to the flesh”, Art International, Lugano, vol.XVII no.8, 20 Oct. 1973, pp.23-28, 65; reprinted as “Balthus, Klossowski, Bellmer: Eros unbound” in The making of modern art: selected writings (2020), pp.139-150.
“A note from Paris” [review of exhibition on Tériade at the Grand Palais, & of exhibitions by Ad Reinhardt, Tàpies & Bernard Réquichot], Art International, Lugano, vol.XVII no.8, 20 Oct. 1973, pp.55-.
“Paris exhitiions: The Eighth Biennale” [review of exhibition in the Musée d’art joderne]. Financial Times, London, 11 Oct. 1973.
“Paris theatre: Festival d’Automne”, Financial Times, London, 25.Oct. 1973; reprinted in issue for 1 Nov. 1973.
“Paris” [review of the Paris Biennial, of exhibition of the Futurists at the Musée National d’Art Moderne, & of exhibitions by Dado, Ivan Thomas, Tibor Csernus, Ben Vautier & Brice Marden], Art International, Lugano, vol.XVII no.9, 15 Nov. 1973, pp.48-50.
“Paris: A season of rich rewards” [review of exhibition of the Futurists in Musée National d’Art Moderne, the 8th Paris Biennial, & exhibition by Dado], Art News, New York, vol.72 no.8, Nov. 1973, p.68.
“Paris: Dado” [review of exhibition at Galerie Jeanne Bucher], Financial Times, London, 9 Nov. 1973.
“Paris: Cubism reviewed” [review of exhibition in the Musée national d’art moderne, Paris], Financial Times, London, 10 Nov. 1973.
“Paris theatre: Luxury and innocence”, Financial Times, London, 16 Nov. 1973; reprinted in issue of 20 Nov. 1973.
“Paris theatre: Molière and Brecht”, Financial Times, London, 22 Nov. 1973.
“Paris: Cubism,Braque: two fine shows” [review of Cubism exhibition at Musée National d’Art Moderne & of exhibition by Braque at the Orangerie], Art News, New York, vol.72 no.10, Dec. 1973, pp.83-84.
“Electra” [Paris theatre review], Financial Times, London, 15 Dec. 1973.
“Sonia Delaunay”, Art International, Lugano, vol.XVII no.10, 13 [20 on cover] Dec. 1973, pp.18-19, 75; reprinted as “Talking to Sonia Delaunay” in Artists’ lives (2023), pp.78-83.
“Paris” [review of exhibition of the Cubists at Musée National d’Art Moderne, & of exhibitions by Georges , Jean Dubuffet, Deborah Remington, Yannis Kounellis, Mattiacci & Jacques Brissot], Art International, Lugano, vol.XVII no.10, 13 [20 on cover] Dec. 1973, pp.5254
“Paris galleries: Figures in Paris” [review of exhibitions by Bathélémy, Cremonini & Gérard Fromanger], Financial Times, London, 28 Dec. 1973.
1974
Periodicals
“Paris: Tapestries and French drawings” [review of exhibitions of tapestries at the Grand Palais & of French drawings from the Metropolitan Museum of Art at the Louvre, & of exhibitions by David Parrish, Harold Hooper & Saul Steinberg], Art News, New York, vol.73 no.1, Jan. 1974, pp.77-78.
“Paris” [review of exhibitions of tapestries & French drawings from David to Matisse & Picasso from the Metropolitan Museum of Art, New York, at the Louvre, & of exhibitions by Nil Yalter, David Parrish, Wolfgang Gäfgen, Barthélémy, Steinberg & Harold Hooper], Art International, Lugano, vol.XVIII no.1, 20 Jan. 1974, pp.21-23.
“Paris exhibitions: Copies at the Louvre” [review of exhibition “Copies, replicas and Pastiches”], Financial Times, London, 10 Jan. 1974.
“Paris theatre: Dark laughter”, Financial Times, London, 15 Jan. 1974.
“Art in Brussels: Primitive and ancient” [ont he Musée royal de l’Afrique centrale & the Musées royaux d’art et d’histoire], Financial Times, London, 29 Jan. 1974.
“Paris: Copies and collaborations” [review of exhibition Copies, replicas and pastiches at the Louvre, & exhibitions by Max Ernst & Cremonini], Art News, New York, vol.73 no.2, Feb. 1974, p.86.
“Art in Brussels – 2: Uninhabited museums” [on the Musée d’art ancien & Musée Wiertz], Financial Times, London, 30 Jan. 1974; reprinted in issue of 1 Feb. 1974.
“Paris theatre: The ride over Lake Constance], Financial Times, London, 2 Feb. 1974.
“And then there are the authentic fakes” [review of exhibition Copies, Répliques, Pastiches at the Louvre], New York Times, New York, 7 Feb. 1974; reprinted in issue for 18 Feb. 1974.
”Paris” [review of exhibition Copies, Répliques, Pastiches at the Louvre, & of exhibitions by Lindström, Bolin, Cremonini, Max Ernst, Ursula, & Christian Zeimert], Art International, Lugano, vol.XVIII no.2, 20 Feb. 1974, pp.45-46.
“Paris: 26 Impressionist paintings in the bedroom” [review of exhibition on Paul Durand-Ruel at Galerie Durand-Ruel, on the planned Centre Beaubourg, & review of exhibition by Richard Lindner], Art News, New York, vol.73 no.3, Mar. 1974, pp.84-85.
“Paris” [review of exhibitions on Jean Paulhan at the Grand Palais & on Paul Durand-Ruel at Galerie Durand-Ruel, & of exhibitions by Richard Lindner, Gérard Fromanger, Joe Downing, Jean Le Moal & Arman], Art International, Lugano, vol.XVIII no.3, 20 Mar. 1974, pp.51-52, 59.
“Paris theatre: A new Odyssey”, Financial Times, London, 12 Mar. 1974.
“Paris theatre: ’La Princess Turandot”, Financial Times, London, 22 Mar. 1974.
“Richard Lindner” [review of exhibition at Musée d’art moderne, Paris], Financial Times, London, 23 Mar, 1974.
”’Father of us all’: so Matisse called his countryman Paul Cézanne, who taught artists a new way of seeing”, Horizon: A Magazine of the Arts, USA, vol.16 no.2, Spring 1974, pp.14-29; reprinted as “The paradox of Cézanne” in The making of modern art: selected writings (2020), pp.25-33.
“Paris theatre: Ondine”, Financial Times, London, 10 Apr. 1974.
“Paris” [review of exhibitions of American Hyperrealism at the Centre National d’Art Contemporain & of French Caravaggists at the Grand Palais, & of exhibitions by Rosofsky, Byzantios, Ed Paschke & Szafran], Art International, Lugano, vol.XVIII no.4, 20 Apr. 1974, 52, 74-75.
“Paris: The Caravaggio club” [review of exhibitions Valentin and the French Caravaggists at the Grand Palais, & Painters and their palettes at the Musée d’Art Moderne, & exhibitions by Eugène Boudin & Arpad Szenes], Art News, New York, vol.73 no.5, May 1974, pp.85-87.
“Art in Europe: Watching evolution of Vieira da Silva” [review of exhibition at Artel Galerie, Geneva], International Herald Tribune, New York, 7 May 1974, p.6.
“Paris” [review of exhibitions by Eugène Boudin, Paul Klee, Juan Gris, Edvard Munch, Gottfried Honnegger, Riopelle, Gilles Aillaud, Roy de Forest & Gina Pane], Art International, Lugano, vol.XVIII no.5, 20 May 1974, pp.49-50, 78.
“Geneva: Vieira da Silva” [review of exhibition at Artel Galerie], Financial Times, 21 May 1974.
“Paris” [review of exhibitions by Louise Nevelson, Manfred Mohr, Joaquin Ferrer, Roussel, Vuillard, Degottex, Carlo Alfano, Olivier Mosset, Michael Warren, Jean Gorin, Remo Bianco, Natalia Dumitresco & Jean-Louis Faure], Art International, Lugano, vol.XVIII no.6, Summer 1974, pp.36-37, 61.
“Paris: Summer riches” [review of exhibitions by Miró, Joan Gris, Louise Nevelson, Paul Klee, Riopelle & Carlo Alfano], Art News, New York, vol.73 no.6, Summer 1974, p.76.
“Rhodesia: The Shona phenomenon” [on Shona sculpture], Art News, New York, vol.73 no.6, Summer 1974, pp.80-82
“Paris theatre: Toller”, Financial Times, London, 27 June 1974.
“Paris theatre: Troilus at Chaillot”, Financial Times, London, 23 July 1974.
“Paris summer shows” [review of exhibition of Miró, Marcel Breuer, Victor Brauner, Dado & Hans Hartung], Financial Times, London, 29 July 1974.
“Paris theatre: Tartuffe”, Financial Times, London, 30 July 1974.
“Miró retrospective in Paris” [review of exhibition in the Grand Palais], Financial Times, London, 10 Aug. 1974.
“Musée Cantini, Marseilles: Matisse’s drawings” [review of exhibition], Financial Times, London, 20 Aug. 1974.
“Avignon Festival” [theatre review], Financial Times, London, 24 Aug. 1974.
“Paris: Freewheeling serenity” [review of exhibitions by Joan Miró, Victor Brauner, Dado & Hans Hartung, & exhibition of 19th century French paintings at the Grand Palais], Art News, New York, vol.73 no.7, Sept. 1974, pp.60-61.
“Saint-Paul-de-Vence: The Fondation Maeght”, Financial Times, London, 12 Sept. 1974.
[André Malraux], Financial Times, London, 18 Sept. 1974.
“Paris: Cézanne, Tanning, Feininger” [review of exhibitions by Cézanne, Dorothea Tanning, Equipo Cronica & Lyonel Feininger], Art News, New York, vol.73 no.8, Oct. 1974, pp.57-58.
“Paris theatre: A letter from Queen Victoria”, Financial Times, London, 24 Oct. 1974.
“Paris: images of delight and fertility” [review of exhibition of Matisse drawings in the Musée Cantini, Marseilles, & on the Fondation Maeght at Saint-Paul-de-Vence], Art News, New York, vol.73 no.9, Nov. 1974, pp.67-68.
“The French alert and their broadcasters: ‘En Garde!’”, New York Times, New York, 3 Nov. 1974, p.29.
“Brook’s Timon”, Financial Times, London, 9 Nov. 1974.
“Maria Helena Vieira da Silva’s Labyrinth” [review of exhibition Vieira da Silva, Galerie Artel, Geneva], Financial Times, London, 21 Nov. 1974; reprinted as “Maria Helena Vieira da Silva’s Labyrinth” in The making of modern art: selected writings (2020), pp.163-165.
“Heartfield in Paris” [review of exhibition], Financial Times, London, 30 Nov. 1974.
“Paris theatre: Mixed company”, Financial Times, London, 24 Dec. 1974.
“Goodbye Mister Freud” [theatre review], Financial Times, London, 28 Dec. 1974.
Exhibition catalogues
[text] in Denise Esteban: entre ciel et mer, Maison de la Culture, Bourges, 1974.
[text] in Denise Esteban: le paysage idéal, [Maison de la Culture,] Carpentras, 1974.
“Vishwanadhan, painter and friend”, in Paintings by Viswanadhan, catalogue of exhibition at Gallery Chanakya, New Delhi, 19 Dec. 1974 – 4 Jan. 1975, pp.[2-3]; reprinted in Vishwanadan: Sables, catalogue of exhibition at AFAA/Galerie Darthea Speyer, Paris, 1982.
1975
Periodicals
“Paris: Heartfield, Hockney, Kokoschka and Fiedler” [review of exhibitions by John Heartfield, David Hockney, Oskar Kokoschka & Fiedler], Art News, New York, vol.74 no.1, Jan. 1975, p.99.
“Paris exhibitions: Guggenheim Collection” [review of exhibition at the Orangerie], Financial Times, London, 1 Jan. 1975
“Paris exhibitions: Drawings at the Musée d’art moderne” [review of exhibition at the Musée national d’art moderne, & of the Peggy Guggenheim collecion in the Orangerie], Financial Times, London, 9 Jan. 1975.
“Paris: Peggy Guggenheim: contrary tastes” [review of exhibition of the Peggy Guggenheim collection in the Orangerie, & exhibitions by Roy Adzak & Jean Tinguely], Art News, New York, vol.74 no.2, Feb. 1975, pp.87-88.
“Paris theatre: Raymond Devos”, Financial Times, London, 6 Feb. 1975.
“Les Iks” [Paris theatre review], Financial Times, London, 8 Feb. 1975.
“Francis Bacon: the last seven years” [on the occasion of exhibition at the Metropolitan Museum of Art, New York], Art Spectrum, Lugano, vol.1 no.3, Mar. 1975, pp.16-21.
“Paris: Sonia Delaunay: a life in color” [reported interview], Art News, New York, vol.74 no.3, Mar. 1975, pp.88-91; reprinted as “Sonia Delaunay, Rue Saint-Dominique Paris 1975” in Interviews with artists, 1966-2012 (2012), pp.196-200.
“Paris theatre: Mixed classics”, Financial Times, London, 7 Mar. 1975.
“Musée Cantini, Marseilles: Inspiration from the East” [review of exhibition “L’Orient en question, 1825-1875”], Financial Times, London, 10 Mar. 1975.
Musées Royaux, Brussels: ’Akhenaton, servant of the sun” [review of exhibition “The reign of the Sun”, Financial Times, London, 20 Mar. 1975, p.3 (another edition of the same date has the shortened title “Musées Royaux, Brussels: Akhenaten”).
“Paris: Franklin and Jefferson return to France” [review of exhibitions The world of Franklin and Jefferson at the Grand Palais, drawings from 1890-1945 at the Musée National d’Art Moderne, & the 2nd Contemporary Art Fair, & of exhibition by Zuka & Jean Ipoustéguy], Art News, New York, vol.74 no.4, Apr. 1975, pp.83-85.
“Expositions: Francis Bacon au Metropolitan Museum de New-York”, Le Monde, Paris, 3 Apr. 1975.
“April in Paris” [theatre review], Financial Times, London, 5 Apr. 1975.
“Paris theatre: Golden and other ages”, Financial Times, London, 24 Apr. 1975.
“Francis Bacon’s recent paintings” [review of exhibition at the Metropolitan Museum of Art, New York], Financial Times, London, 16 Apr. 1975.
“Paris: Drawings, Dubuffet and ‘Desire’” [review of exhibitions of Italian drawings from the Albertina, Vienna, at the Louvre, & of exhibitions by Arman, Alechinsky, Dubuffet & Gérard Fromanger], Art News, New York, vol.74 no.5, May 1975, pp.82-84.
“France” [section of feature “Summer 1975: Europe”], Art News, New York, vol.74 no.6, Summer 1975, p.82.
“Paris theatre: Big names and small results”, Financial Times, London, 4 July 1975.
“Paaris theatre: Genet’s ‘Le Balcon’”, Financial Times, London, 10 July 1975.
“Paris exhibitions: Gigantism and James Joyce” [review of Artcurial, & of exhibition “James Joyce et Paris”], Financial Times, London, 17 July 1975.
“Paris exhibitions: Pierluca at the Musée Rodin”, Financial Times, London, 28 July 1975, p.3.
“Paris theatre: John Ford at Vincennes”, Financial Times, London, 12 Aug. 1975.
“Saint-Paul-de-Vence: Bonnard at the Fondation Maeght”, Financial Times, London, 12 Aug. 1975.
“Phèdre at Avignon” [theatre review], Financial Times, London, 23 Aug. 1975.
“Kunsthistorisches Museum, Vienna: Gods, heroes and humans” [review of the exhibition], Financial Times, London, 30 Sept. 1975.
“Paris: The opulence of Italy” [review of exhibition Studiolo of Isabella d’Este in the Louvre, & exhibitions by Corot, Michelangelo drawings, Pierluca & Yaakov Agam], Art News, New York, vol.74 no.8, Oct. 1975, pp.101-102.
“Saint-Paul-de-Vence: Craving for the exotic” [review of exhibitions by Bonnard & on French Orientalism], Art News, New York, vol.74 no.8, Oct. 1975, pp.103-105.
“Viennese theatre: Voices of exile”, Financial Times, London, 9 Oct. 1975.
“Paris exhibitions: The Ninth Biennial’ [review of exhibition in the Musée d’art moderne], Financial Times, London, 31 Oct. 1975, p.3.
“Festival D’automne, Paris: La Mama and Il Piccolo”, Financial Times, London, 5 Nov. 1975, p.3.
“The sculpture of Pierluca”, Art International, Lugano, vol.XIX no.9, 20 Nov. 1975, pp.30-34, 50-51.
”Paris: Empty delectations, puerile fantasies” [review of the Ninth Paris Biennial & of exhibitions of Scythian art at the Grand Palais & 16th Century travel drawings at the Louvre, & exhibition by Jacques Villon], Art News, New York, vol.74 no.10, Dec. 1975, pp.101-103.
“Paris theatre: La Guerre de 2000 Ans”, Financial Times, London, 11 Dec. 1975.
Exhibition catalogues
“Dado, noir sur blanc”, in Dado, catalogue of an exhibition at Galerie Jeanne Bucher, Paris, 14 May – 14 June 1975. Paris: Galerie Jeanne Bucher, 1975, pp.[5-8].
1976
Books
L’Art de l’impossible: entretiens avec David Sylvester, translated by Michel Leiris & MP [“Peppiatt provided a basic, literal translation of the interviews, which Leiris put into more elegant French.” – Francis Bacon: a self-portrait in words: statements, letters, studio notes, and selected interviews, p.232, footnote 283]. Geneva: Éditions d’Art Albert Skira, 1976, in series “Les Sentiers de la création” (translation of David Sylvester, Interviews with Francis Bacon, London: Thames & Hudson, 1975)
Periodicals
‘Paris exhibitions: The Bateau-Lavoir’ [review of exhibition at the Musée Jacquemart-André, Paris], Financial Times, London, 19 Feb. 1976.
“Paris: The ‘cradle of modern art’’ [review of exhibitions on the Bateau-Lavoir at the Musée Jacquemart-André & on Boccaccio at the Bibliothèque Nationale, & of Giacometti’s drawings], Art News, New York, vol.75 no.3, Mar. 1976, pp.120-124.
“Paris theatre: Claudel and Wedekind”, Financial Times, London, 4 Mar. 1976.
“Paris theatre: Valle-Inclan’s ‘Divine Words’”, Financial Times, London, 2 Apr. 1976.
“Paris: a museum for all the muses” [on the completion of the Centre Beaubourg, including interview with Pontus Hulten], Art News, vol.75 no.5, May 1976, pp.106-109..
“Art market draws crowd” [on the Maison Druout auction house in Paris], Financial Times, London, 22 June 1976, p.26.
“Grand Palais, Paris: Ramses the Great”, Financial Times, London, 10 July 1976.
“The ‘Eye of Paris’ looks inward” [on Brassaï, incl. interview], New York Times, New York, 19 Sept. 1976; reprinted as “Brassaï, Montparnasse Paris 1976” in Interviews with artists, 1966-2012 (2012), pp.270-274; French version published by L’Échoppe, Paris.
1977
Periodicals
“The warring complexities of Jean Dubuffet” [interview], Art News, New York, vol.76 no.5, May 1977, pp.68-70; reprinted as “Jean Dubuffet, Rue de Vaugirard Paris 1977” in Interviews with artists, 1966-2012 (2012), pp.288-294; French translation published, with “Avant-propos” dated 2006, as Les dilemmes de Jean Dubuffet: entretien, Paris: L’Échoppe, 2006.
1978
Books
[collaborated with Gilbert Lascault, Bernard Piens & Jeanne Bouniort in] Gilbert Lascault, Francis Bacon, à travers portraits, triptyques, œuvres diverses (1946-1976): la tradition pictoriale et sa perturbation. Paris: CNDP (Centre nationale de documentation pédagogique) (series: ‘Actualités des arts plastiques’, no.39), 1978.
Exhibition catalogues
“D’un enrtretien avec Dado” [“”Cette entretien recoupe et résume trois interviews distinctes.” – p.[7], in Dado: dessins, catalogue of an exhibition at Galerie Isy Brachot, Paris, 16 Nov. 1978 – 6 Jan. 1979. Paris; Bruxelles: Galerie Isy Brachot, 1978, pp.[7, 11, 14, 22, 25]; English version published as “Dado, Rue des Archives Paris 1978” in Interviews with artists, 1966-2012 (2012), pp.296-305.
1979
Books
“Paris: Introduction” & “Paris: Gazetteer” in The Shell guide to France, edited by Edward Young. London: Michael Joseph, 1979, pp.65-69, 70-99; revised edition 1983.
Periodicals
“Paris” [review of exhibitions by Goya, Giacometti, Nicolas de Staël, Jeanne Bucher, David Levine, Anne Madden, Hélion, Arroyo & Georg Baselitz], Art International, Lugano, vol.XXIII no.2, May 1979, pp.29-33.
“Paris” [review of exhibitions of Cycladic sculpture at the Louvre & the art and decorative arts of the Second Empire at the Grand Palais, as tributes to the critic Gaëtan Picon & the collector Pierre Loeb, & by Rebeyrolle], Art International, Lugano, vol.XXIII nos.5-6 Sept. 1979, pp.99-102.
“The finest occupation” [in “The ‘Vasari’ Diary”, on the Tériade Museum on Lesbos]’, Art News, New York, vol.78 no.8, Oct. 1979, pp.13-17.
“Interview with Louis le Brocquy” [“a distillation, from notes and memory, of several hours’ conversation that took place at various times in the studio where both le Brocquy and Anne Madden paint” – p.60], Art International, Lugano, vol.XXIII no.7, Oct. 1979, pp.60-66; reprinted, with French & German translations, in Louis le Brocquy: The head image: interviews with the artist, published on the occasion of exhibition at the Irish Museum of Modern Art, Dublin, 1996. Kinsale, Co. Cork: Gandon Editions, 1996, pp.22-25 (English text), 166-169 (French text, translated by Alice Bollony-Rewald), 178-181 (German text, translated by Eurotranslations, Cork); reprinted as “Louis le Brocquy, Carros France 1979” in Interviews with artists, 1966-2012 (2012), pp.358-369.
“A new home for 19th-century French art” [on plans to convert the Gare d’Orsay to the Musée d’Orsay], New York Times, New York, 7 Oct. 1979, p.31..
Exhibition catalogues
“Adzak”, in Adzak, Guillaumon, Erika Magdalinski, Irmgard Sigg, catalogue of an exhibition at Fondaton Nationale des Arts Grahiques et Plastiques, Paris, 24 Apr. – 27 May 1979, p.[2].
“Les nouvelles Metamorphoses”, in Dado: gravures, peintes à la gouache, catalogue of an exhibition by by Galerie Isy Brachotat, Art 10 ’79, Bâle, 13 – 18 June 1979; Galerie Isy Brachot, Knokke, 18 – 30 Aug. 1979. Bruxelles; Paris; Knokke: Galerie Icy Brachot, 1979, pp.[2-3].
[untitled text, in French] in Louis Le Brocquy: images de W.B. Yeats, James Joyce, Samuel Beckett, Federico Garcia Lorca, August Strindberg, Francis Bacon, catalogue of an exhibition at Galerie Jeanne Bucher, Paris, 27 Nov. – 27 Dec. 1979. Paris: Galerie Jeanne Bucher, 1979, pp.[3-7].
1980
Periodicals
“It’s not the end of the line for the Gare d’Orsay” [on plans to convert it into the Musée d’Orsay], Art News, New York, Apr. 1980, pp.132-135.
“An interview with Pierre Soulages = Entretien avec Pierre Soulages” [on the occasion of the exhibition Pierre Soulages: Peintures récentes at the Centre Pompidou-Beaubourg], Art International, Lugano, vol.XXIV nos.3-4, Nov.-Dec. 1980, pp.157-166 (English text), 167-173 (French text); French text reprinted with a new introduction as the book Rencontre avec Pierre Soulages, Paris: L’Échoppe, 2004; English text reprinted as “Pierre Soulages, Rue des Trois Portes Paris 1980” in Interviews with artists, 1966-2012 (2012), pp.348-357.
Exhibition catalogues
“In the silence of time”, in Zoran Music, catalogue of an exhibition at 12 Duke Street Gallery, London, May – June 1980. London: 12 Duke Street Gallery, 1980, pp.[3-13].
1981
Periodicals
“Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-57; English version: “Francis Bacon and the waste land”, published in Connaissance des Arts: U.S. Edition, Paris, no.16, May 1981, pp.40-48; “a revised and enlarged version of the essay” (p.18) subsequently published in English as “Francis Bacon: The anatomy of an enigma” , Art International, Sept.-Nov. 1984, pp.4-18; Norwegian version published as “Francis Bacon” in Kunst og Kultur, 1985, No.1, pp.46-59. reprinted with German translation as “Francis Bacon bei der Arbeit = Francis Bacon at work” in School of London, catalogue of an exhibition at KunstMusWien, Vienna, 1999, pp.71-85; reprinted in Francis Bacon: a retrospective, catalogue of an exhibition at Yale Center for British Art, New Haven, CT, & travelling,1999, pp.25-37; French translation published as Francis Bacon à l’atelier, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 1999; reprinted with Spanish & Valencian translations as “Portrait of the artist at work = Retrato del artista trahajando” = “Retrat del artista treballant” in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition at IVAM Institut Valencià d’Art Modern, 2003-2004 pp.148-169, 263-269; French translation published as “Portrait de l’artiste au travail’ in Francis Bacon: le sacré et le profane, catalogue of an exhibition at Fondation Dina Vierny – Musée Maillol, Paris, 2004, pp.30-40; reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.18-41.
“Au cœur mème de la peinture” (translated by Alice Bellony-Rewald) [on Nicolas de Staël], Connaissance des Arts, Paris, June 1981, pp.82-87.
“In the silence of time: The art of Zoran Music”, Art International, Lugano, vol.XXIV nos.9-10, Aug.-Sept. 1981, pp.169-174; reprinted as “Zoran Mušič: in the silence of time” in The making of modern art: selected writings (2020), pp.166-169; reprinted as “Zoran Music: art after Dachau” in Artists’ lives (2023), pp.189-197
”R.B. Kitaj: le tableau comme un roman” (translated by Alice Bellony-Rewald), Connaissance des Arts, Paris, Sept. 1981, pp.36-43; English version published as “R.B. Kitaj: master of an evasive art” [title in contents, p.3: “R.B. Kitaj: pictures like novels], in Connaissance des Arts: U.S. Edition, Paris, no.20, Sept. 1981, pp.28-35; reprinted as “R.B. Kitaj; paintings as novels” in Artists’ lives (2023), pp.289-296.
Exhibition catalogues
[text, dated March 1981]. in Paintings by Helen Lessore, catalogue of an exhibition at 12 Duke Street Gallery, London, 13 May – 19 June 1981. London: 12 Duke Street Gallery, 1981, pp.[3-8].
1982
Books
Michael Peppiatt [text], Alice Bellony-Rewald [photographic research], Imagination’s chamber: artists and their studios. Boston: New York Graphic Society 1982; British edition published by Gordon Fraser, London, 1983; vii, 232p., 221 illustrations (6 col.); chapter 9, pp.173-200, reprinted as “Studios of America” in The studio reader: on the space of artists, edited by Mary Jane Jacob and Michelle Grabner (2010), pp.68-79; section on pp.93-100 reprinted as “Manet and Degas at work” in The making of modern art: selected writings (2020), pp.19-24; section on pp.142-147 reprinted as “Matisse: seen from the studio” in ibid., pp.56-6; section on pp.116-125 reprinted as “Picasso’s progress” in ibid., pp.61-67; section on pp.138-141 reprinted as “Klee and Kandinsky side by side” in ibid., pp.78-80.
Periodicals
“Jackson Pollock: l’Action reconsidérée” [translated by Alice Bellony-Rewald], Connaissance des Arts, Paris, Feb. 1982, pp.36-43; published in English as “Jackson Pollock reconsidered” in Connaissance des Arts, U.S. Edition, Paris, no.XX, pp.28-35; reprinted in The making of modern art: selected writings (2020), pp.186-190.
“Fièvre-oeil-main” [translated by Alice Bellony-Rewald], Connaissance des Arts, Paris, no.363, May 1982, pp.63-68; English version published in as “Avigdor Arikha: A hunger in the eye” in Art International, Lugano, Sept.-Oct. 1982; incorporated into “To start again from the beginning”, preface to Avigdor Arikha: On depiction: selected writings on art, 1965-94, Athens: Benaki Museum; London: Eris, 2019, pp.ix-xiv; reprinted as “Avigdor Arikha: a hunger in the eye” in The making of modern art: selected writings (2020), pp.175-179 (“This preface was edited by Alex Stavrakis, skilfully and seamlessly running together two pieces I wrote about Arikha.”, p.253).
“Avigdor Arikha: A hunger in the eye”, Art International, Lugano, vol.XXV nos.7-8, Sept.-Oct. 1982, pp.18-28; previously published in French as “Avigdor Arikha: fièvre-oeil-main” in Connaissance des Arts, May 1982, pp.63-68; reprinted as “Avigdor Arikha, Montparnasse Paris 1982” in Interviews with artists, 1966-2012 (2012), pp.216-222; incorporated into “To start again from the beginning”, preface to Avigdor Arikha: On depiction: selected writings on art, 1965-94, Athens: Benaki Museum; London: Eris, 2019, pp.ix-xiv; reprinted as “Avigdor Arikha: A hunger in the eye” in The making of modern art: selected writings (2020), pp.175-179 (“This preface was edited by Alex Stavrakis, skilfully and seamlessly running together two pieces I wrote about Arikha.”, p.253).
“Vu de l’atelier” [on the occasion of the publication of Imagination’s chamber: artists and their studios; translated by Alice Bellony-Rewald], Connaissance des Arts, Paris, Dec. 1982, pp.87-92.
“Large size of relief” [on Raymond Mason, including interview conducted in Paris, on the occasion of his exhibition at the Serpentine Gallery, London], The Sunday Times Magazine, London, no.8267, 12 Dec. 1982, cover & pp.30-35; reprinted as “Raymond Mason, Luxembourg Gardens Paris 1982” in Interviews with artists, 1966-2012 (2012), pp.68-75.
Exhibition catalogues
“Viswanadhan, painter and friend”, in Viswanadhan: Sables, AFAA/Galerie Darthea Speyer, Paris, 1982; previously published in Paintings by Viswanadhan, catalogue of exhibition at Gallery Chanakya, New Delhi, 19 Dec. 1974 – 4 Jan. 1975, pp.[2-3].
“Zoran Music: det uforgjengelige bilde = Zoran Music: the irreducible image”] (parallel Norwegian/English text), in Zoran Music, catalogue of the exhibition Zoran Music: maleri, akvarell, tegning, grafikk at Galleri Oftedal, Stavanger, 10 – 28 Nov. 1982; Tromsø Kunstforening, 8 – 23 Jan. 1983. Stavanger: Galleri Oftedal, 1982, pp.[7-14] (Norwegian text), 15-22 (English text); reprinted in Art International, Lugano, Apr.-June 1984, pp.23-26; fragment published in Italian translation in Zoran Music: gli acquerelli veneziani = The Venetian watercolours 1947-1949, catalogue of an exhibition at Museo Morandi, Bologna, 1998, p.70.
Raymond Mason: Coloured sculptures, bronzes and drawings 1952-1982, catalogue of an exhibition at Serpentine Gallery, London, 27 Nov. 1982 – 9 Jan. 1983; Museum of Modern Art, Oxford, 6 Feb. – 27 Mar. 1983. London: Arts Council of Great Britain, 1982. (Texts by MP: Introduction, pp.5-11; “Responses by Raymond Mason to questions by Michael Peppiatt”, pp.12-16 [French translation published as ‘Raymond Mason, Michael Peppiatt, Entretien” in Raymond Mason, catalogue of exhibition at Musée National d’Art Moderne, Centre Georges Pompidou, Paris, 1985 & Musée Cantini, Marseille, 1985-1986, pp.60-64; English text reprinted in At work in Paris: Raymond Mason on art and artists. London: Thames & Hudson, 2003, pp.157-167]).
1983
Periodicals
[Raymond Mason], Connaissance des Arts, Paris, Jan. 1983.
“Lucian Freud” [includes review of Lucian Freud by Lawrence Gowing, Thames & Hudson, 1982], Art International, Lugano, vol.XXVI no.1, Jan.-Mar. 1983, pp.102-106; reprinted as “A closer look at Lucian Freud” in The making of modern art: selected writings (2020), pp.231-236.
“Un après-midi chez Moore” [translated by Alice Bellony-Rewald], Connaissance des Arts, Paris, June 1983, pp.66,75; reprinted as Un après-midi chez Henry Moore. Paris, L’Échoppe, 2011; English translation published as “Henry Moore, Much Haddam Hertfordshire 1983” in Interviews with artists, 1966-2012 (2012), pp.184-195.
“The achievement of Joe Downing”, Art International, Lugano, vol.XXVI no.4, Sept. – Oct. 1983, pp.1-8; reprinted in The making of modern art: selected writings (2020), pp.197-202.
“Balthus: mythes de la vie ordinaire” [in the occasion of exhibition at the Centre Pompido, Paris, & Metropolitan Museum of Art, New York, Connaissance des Arts, Paris, Nov. 1983, pp.97-103; English version published as “A broken dream of Balthus” in Connaissance des Arts, U.S. Edition, Paris, no.XX, pp.7-10, 72.
“Balthus: Of dreams, enigmas, and nymphets” [on the occasion of exhibition at the Centre Pompidou, Paris, & Metropolitan Museum of Art, New York, 1983-1984; includes interview, “I’d definitely try to stop the show”, p.100], The Connoisseur, New York, vol.213 no.861, Nov. 1983, pp.98-105.
“Balthus”, Magazine du CNAC [Les cahiers du musée national d’art moderne] (Centre Georges Pompidou), Paris, no.18, Nov. – Dec. 1983 .
“Stanislas Klossowski de Rola: Balthus” [review of book published by Thames & Hudson, 1983], Art International, Lugano, vol.XXVI no.5, Nov.-Dec. 1983, p.74.
“Stephen Spender and David Hockney: China diary” [review of book published by Thames & Hudson, 1983], Art International, Lugano, vol.XXVI no.5, Nov.-Dec. 1983, pp.88-89.
“David Hockney” [translated by Alice Bellony-Rewald], Connaissance des Arts, Paris, Dec. 1983, pp.72-82.
1984
Periodicals
“Lucian Freud: à l’intérieur d’une oeuvre” [translated by Alice Bellony-Rewald], Connaissance des Arts, Paris, no.385, Mar. 1984, pp.44-50; republished with a new introduction by L’Échoppe, Paris, 2010; original English version published as “Lucian Freud’s ‘Large interior, W11 (after Watteau)’” in Artists’ lives (2023), pp.266-277.
“A broken dream of Balthus” [on the occasion of the retrospective exhibition at the Centre Pompidou, Paris], Art International, Lugano, vol.XXVII no.2, Apr.-June 1984, pp.7-10, 72; reprinted in Artists’ lives (2023), pp.164-175.
Zoran Music: the irreducible image’, Art International, Lugano, vol.XXVII no.2, Apr.-June 1984, pp.23-26; previously published with Norwegian translation in Zoran Music, catalogue of the exhibition Zoran Music: maleri, akvarell, tegning, grafikk at Galleri Oftedal, Stavanger, 1982, Tromsø Kunstforening, 1983, pp. 15-22; fragment published in Italian translation in Zoran Music: gli acquerelli veneziani = The Venetian watercolours 1947-1949, catalogue of an exhibition at Museo Morandi, Bologna,1998, p.70.
“Sujet tabou:, exposition risquée” (translated by Alice Bellony-Rewald) [‘review of exhibition ‘Primitivism’ in 20th century art: affinity of the tribal and the modern, Museum of Modern Art, New York], Connaissance des Arts, Paris, Sept. 1984, pp.84-95; reprinted as “The trouble with ‘Primitivism’” in The making of modern art: selected writings.(2020), pp.72-77.
“Francis Bacon: The anatomy of an enigma” , Art International, Lugano, vol.XXVII no.4, Sept.-Nov. 1984, pp.4-18; “a revised and enlarged version of the essay published in Connaissance des Arts, May 1982” – p.18; Norwegian version published as “Francis Bacon” in Kunst og Kultur, 1985, No.1, pp.46-59; reprinted with German translation as “Francis Bacon bei der Arbeit = Francis Bacon at work” in School of London, catalogue of an exhibition co-curated by Michael Peppiatt & Jill Lloyd at KunstMusWien, Vienna, 1999, pp.71-85; reprinted in Francis Bacon: a retrospective, catalogue of an exhibition at Yale Center for British Art, New Haven, CT, & travelling,1999, pp.25-37; French translation published as Francis Bacon à l’atelier, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 1999; reprinted with Spanish & Valencian translations as “Portrait of the artist at work = Retrato del artista trahajando” = “Retrat del artista treballant” in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition at IVAM Institut Valencià d’Art Modern, 2003-2004 pp.148-169, 263-269; French translation published as “Portrait de l’artiste au travail’ in Francis Bacon: le sacré et le profane, catalogue of an exhibition at Fondation Dina Vierny – Musée Maillol, Paris, 2004, pp.30-40; reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.18-41; German translation published as “Francis Bacon im Atelier” in Gespräche in der Nacht: Francis Bacon über seine Arbeit, Piet Meyer Verlag, Bern 2011, pp.11-48.
Exhibition catalogues
[text], in Michel Burdzelain: au miroir de M.B., Galerie Isy Brachot, Paris, 1984.
1985
Periodicals
“Francis Bacon” [translated by Bodil Sørensen; previously published as “Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-57; “a revised and enlarged version” published in English as “Francis Bacon: The anatomy of an enigma” in Art International, Sept.-Nov. 1984.], Kunst og Kultur, Oslo, vol.68 no.1, 1985, pp.46-59.
“Letter from Paris: Tribute to Kahnweiler” [review of exhibition Daniel-Henri Kahnweiler at Centre Pompidou, Paris], Apollo, London, vol.121 no.278 (new series), Apr. 1985, pp.272-273.
“Ritratto d’artista: Francis Bacon:” Sono come un tritatutto: tutto ciò che ho visto l’ho assorbito e macinato fine fine’” [interview with Francis Bacon]., Il Giornale dell’Arte, Turin, no.23, May 1985, pp.14-15 (as “Michael Peppiat”).
“Sono come un tritatutto: nello studio di Bacon”, Arte, Milan, vol.15 no.153, June 1985, pp.38-43.
“Letter from Italy: Zoran Music in Venice” [review of exhibition at Museo Correr, Venice], Apollo, London, vol.122 no.283 (new series), Sept. 1985, p.232.
“For collectors: The visionary pursuit of Count Giuseppe Panza di Biumo”, Architectural Digest, Los Angeles, vol.42 no.10, Oct. 1985, pp.74-80.
”Zoran Music, modern master” [on the occasion of exhibition at the Museo Correr in Venice], Connoisseur, New York, vol.215, Nov. 1985, pp.60-64.
Exhibition catalogues
[text], in Viswanadan: sous le signe de la sécheresse, Centre Georges Pompidou, Paris, 1985.
‘Raymond Mason, Michael Peppiatt, Entretien” [French translation of “Responses by Raymond Mason to questions by Michael Peppiatt”, originally published in Raymond Mason: Coloured sculptures, bronzes and drawings 1952-1982, catalogue of an exhibition at Serpentine Gallery, London,1982-1983, Museum of Modern Art, Oxford, 1983, London: Arts Council of Great Britain, 1982, pp.12-16] in Raymond Mason, catalogue of exhibition at Musée National d’Art Moderne, Centre Georges Pompidou, Paris, 11 Sept. – 11 Dec. 1985; Musée Cantini, Marseille, 14 Dec. 1985 – 17 Feb. 1986. Paris: Musée National d’art Moderne, Centre Georges Pompidou, 1986 (series: “Contemporains”, no.6), pp.60-64.
1986
Periodicals
“Treasury of France: the Bibliothèque Nationale is much more than a library”, Connoisseur, New York, vol.216, Jan. 1986, pp.58-67.
“Quixotic Cuenca: a country retreat in Spain” [on the restoration of a 17th century “hanging house” by Roman Affango and Pin Morales for Pilar Citoler], Architectural Digest, Los Angeles, vol.43 no.8, Aug. 1986, pp.134-139, 145.
“Artist’s dialogue: Hans Hartung – a universe of storms and stars”, Architectural Digest, Los Angeles, vol.43 no.10, Oct. 1986, pp.50, 54, 56; reprinted as “Hans Hartung, Antibes 1986” in Interviews with artists, 1966-2012 (2012), pp.208-211.
Exhibition catalogues
[untitled text] (parallel Italian/English/French text) in Paolo Vallorz, catalogue of an exhibition at Galleria Bergamini, Milan, Jan. – Feb. 1986. Milan: Galleria Bergamini, 1986; pp.[4-7] (Italian text, translated by Maria Elena Ruggerini], [8-11] (English text), [12-15] (French text, translated by Françoise Gaillard).
1987
Periodicals
“Artist’s dialogue: Henri Cartier-Bresson: Drawing on an old passion”, Architectural Digest, Los Angeles, vol.44 no.1, Jan. 1987, pp.40, 44-46; reprinted as “Henri Cartier-Bresson, Rue de Rivoli Paris 1987” in Interviews with artists, 1966-2012 (2012), pp.178-182.
“Architerural Digest visits: Sophia Loren” [on a visit to her home on Williams Island in South Florida], Architectural Digest, Los Angeles, vol.44 no.3, Mar. 1987, pp.116-123.
”The man who laughed at fame, but it came to Diego Giacometti anyway”, Connoisseur, New York, vol.217, Apr. 1987, pp.144-147; reprinted as “Diego Giacometti, Alesia Paris 1985” in Interviews with artists, 1966-2012 (2012), pp.202-207.
“Artist’s dialogue: Antoni Tàpies: an art of constant renewal [on visits to the artist’s studios in Barcelona and Campins], Architectural Digest, Los Angeles, vol.44 no.8, Aug. 1987, pp.40, 44, 47; reprinted as “Antoni Tàpies, El Putxet Barcelona 1987” in Interviews with artists, 1966-2012 (2012), pp.236-240.
“Max Bill: perpetuating the Bauhaus ideal”, Architectural Digest, Los Angeles, vol.44 no.8, Aug. 1987, pp,48, 48D, 48H.
“The new Art International” [by MP, Thomas West], Art International, Paris, no.1 (new series), Autumn 1987, p.[2].
“[Introduction]: The School of London”, Art International, Paris, no.1 (new series), Autumn 1987, p.5..
“Could there be a School of London?”, Art International, Paris, no.1 (new series), Autumn 1987, pp.7-21; revised version of “A School of London” published in A School of London: six figurative painters, catalogue of an exhibition organised by the British Council, in Oslo & travelling, 1987-1988, pp.7-13; French version published as “L’École de Londres: De Bacon à Bevan” in catalogue of exhibition L’École de Londres: De Bacon à Bevan at Fondation Dina Vierny-Musée Maillol, Paris & travelling, 1998, pp.15-29; reprinted with German translation as “Die School of London = The School of London” in School of London, catalogue of exhibition co-curated by MP & Jill Lloyd at KunstHausWien, Vienna, 1999, pp.13-27; expanded French version published in an expanded version as L’École de Londres, Paris: L’Échoppe, 2006; “Francis Bacon and the School of London” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.118-141; reprinted as “Is there a School of London?” in The making of modern art: selected writings.(2020), pp.208-225.
“Frank Auerbach: Going against the grain” [interview], Art International, Paris, no.1 (new series), Autumn 1987, pp.22-29; reprinted with German translation as “Frank Auerbach: Gegen den Strom schwimmen = Frank Auerbach: Going against the grain” in School of London, catalogue of an exhibition co-curated by MP & Jill Lloyd at KunstMusWien, Vienna, 1999, pp.129-136.
“Francis Bacon: Reality conveyed by a lie” [interview], Art International, Paris, no.1 (new series), Autumn 1987, pp.30-33; reprinted in “Three interviews with Francis Bacon” in Francis Bacon: a retrospective, catalogue of exhibition at Yale Center for British Art, New Haven, CT, & travelling, 1999, pp.42-45; reprinted with Gernan translation as “Francis Bacon und Michael Peppiatt = Francis Bacon and Michael Peppiatt” in School of London, catalogue of exhibition, KunstHausWien, Vienna, 1999, pp.67-70; reprinted with Spanish & Valencian translations in ““Three interviews with Francis Bacon = Tres entrevistas con Francis Bacon” / “Tres entrevistas amb Francis Bacon” in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition at IVAM Institut Valencià d’Art Modern, & travelling, 2003, pp.188-193, 277-278; revised version published as ‘Interview two: Reality conveyed by a lie” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.142-149 (“Some of the asides that occur here – particularly Bacon’s disparaging remarks about Matisse – were cut from the original version because they were not central to the main theme and because I knew that Bacon might object, after the event, that they had been ‘off the record’.” – p.143.); German translation published as “Interview II” in Gespräche in der Nacht: Francis Bacon über seine Arbeit, Piet Meyer Verlag, Bern 2011, pp. 63-72; reprinted in Conversations: Francis Bacon, Strasbourg: L’Atelier contemporain, 2019, pp.135-141.
“R. B. Kitaj: The Diaspora in London” [interview], Art International, Paris, no.1 (new series), Autumn 1987, pp.34-38; reprinted with German translation as “R.B. Kitaj: Die Diaspora in London = R.B. Kitaj: The Diaspora in London” in School of London, catalogue of an exhibition at KunstMusWien, Vienna, 1999, pp.151-156; reprinted as “R.B. Kitaj, Chelsea London 1987” in Interviews with artists, 1966-2012 (2012), pp.14-22.
“Henri Cartier-Bresson: Draughtsman and photographer” [interview, unsigned], Art International, Paris, no.1 (new series), Autumn 1987, pp.69-75; reprinted as “Henri Cartier-Bresson, Rue de Rivoli Paris 1987” in Interviews with artists, 1966-2012 (2012), pp.276-279.
“Six new masters: why stodgy old London is now the art capital of the world” [on Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, R.B. Kitaj & Leon Kossoff], Connoisseur, New York, vol.217, Sept. 1987, pp.79-84.
“A place for roses” [on the work of Ned and Marlo Puliips in New York], Architectural Design, Los Angeles, vol.44 no.11, Nov. 1987, pp.206-211.
Exhibition catalogues
[text, dated Dec. 1986] in Hollis Jeffcoat: recent landscapes, catalogue of an exhibition at Edison Community College, Ft. Myers, FL, 1987. Fr. Myers, FL: Edison Community College, 1987, p.[2].
“A School of London” in A School of London: six figurative painters [Michael Andrews, Lucian Freud, R.B. Kitaj, Leon Kossoff, Francis Bacon, Frank Auerbach], catalogue of an exhibition organised by the British Council, at Kunstnernes Hus, Oslo, 9 May – 14 June 1987; Louisiana Museum of Modern Art, Humlebaek, 27 June – 16 Aug. 1987; Museo d’Arte Moderna, Ca’ Pesaro, Venice, 5 Sept. – 18 Oct. 1987; Kunstmuseum Düsseldorf, 6 Nov. 1987 – 10 Jan. 1988. London: British Council, 1987, pp.7-13; revised version published as “Could there be a School of London?” in Art International, Autumn 1987, pp.7-21; Edition for Italian venue with parallel English/Italian text, A School of London: six figurative painters = Una scuola di Londra: sei artists figurativi. London: British Council, 1987, 104p.; French version published in catalogue of exhibition L’École de Londres: De Bacon à Bevan at Musée Maillol, Paris, 1998, reprinted with German translation as “Die School of London = The School of London” in School of London, catalogue of exhibition co-curated by MP & Jill Lloyd at KunstHausWien, Vienna, 1999, pp.13-27; reprinted in an expanded version as L’École de Londres, trans. Pierre Cotensin, Paris: L’Échoppe, 2006; reprinted as “Francis Bacon and the School of London” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.118-141; reprinted in The making of modern art: selected writings.(2020), pp.208-225.
“Ten British masters”, in Ten British masters: Frank Auerbach, Francis Bacon, Anthony Caro, Lucian Freud, Barbara Hepworth, David Hockney, Leon Kossoff, Henry Moore, Ben Nicholson, Graham Sutherland, catalogue of an exhibition at Arnold Herstand & Company, New York, 23 Oct. – 5 Dec. 1987. New York: Arnold Herstand, 1987, pp.[2-3].
1988
Periodicals
“Architectural Digest visits: Franco Zeffirelli” [on Villa Treville, the director’s home in Positano], Architectural Digest, Los Angeles, vol.45 no.1, Jan. 1988, pp.84-89.
“Botero’s Tucurinca: the artist’s house in the Colombian countryside”, Architectural Digest, Los Angeles, vol.45 no.1, Jan. 1988, pp.134-139.
“Milan’s Poldi Pezzoli Museum”, Architectural Digest, Los Angeles, vol.45 no.3, Mar. 1988, pp.44, 48.
“Editorial” [by MP, Thomas West], Art International, Paris, no.2 (new series), Spring 1988, p.[4].
“Zoran Music: Inspired by Dachau” [interview], Art International, Paris, no.2 (new series), Spring 1988, pp.22-27; reprinted with Italian translation as part of “Zoran Music fra le ombre e il sole = Zoran Music between the shadows and the sun”, in Zoran Music: gli acquerelli veneziani = The Venetian watercolours 1947-1949, catalogue of an exhibition at Museo Morandi, Bologna, 1998, pp.15-19, 20-23; reprinted as “Zoran Music, Rue des Vignes Paris 1987” in Interviews with artists, 1966-2012 (2012), pp.326-334; reprinted in “Zoran Music: interviews, 1988-1998” in Zoran Music: The Zurich Room: works and studio, catalogue of an exhibition at Palazzo Attems Petzenstein, Gorizia, 2026, pp.215-231.
“Artist’s dialogue: Frank Auerbach: Topographies of colour”, Architectural Digest, Los Angeles, vol.45 no.4, Apr. 1988, pp.43, 46.
“Editorial” [by MP, Thomas West], Art International, Paris, no.3 (new series), Summer 1988, p.[4].
“Antoni Tàpies: Fields of energy” [interview], Art International, Paris, no.3 (new series), Summer 1988, pp.37-42; reprinted as “Antoni Tàpies, El Putxet Barcelona 1986” in Interviews with artists, 1966-2012 (2012), pp.412-416.
“Architetural Digest visits: Candice Bergen and Louis Malle in France”, Architectural Digest, Los Angeles, vol.45 no.6, June 1988, pp.114-119.
“Editorial” [by MP, Thomas West], Art International, Paris, no.4 (new series), Autumn 1988, p.[4].
”Interview with Daniel Abadie: A decade for reappraisal”, Art International, Paris, no.4 (new series), Autumn 1988, pp.13-16.
“Abstraction versus figuration: The mid-century dilemma of Nicolas de Staël”, Art International, Paris, no.4 (new series), Autumn 1988, pp.22-26; reprinted as “The mid-century dilemma of Nicolas de Staël” in The making of modern art: selected writings (2020), pp.170-174.
“Old soldier in dress uniform: Art International relaunched”, Art Monthly, no.120, Oct. 1988, pp.26-27.
“Editorial: Images into words” [by MP, Thomas West], Art International, Paris, no.5 (new series), Winter 1988, p.[4].
“A tribute to James Fitzsimmons, editor and publisher (1919-1985)”, Art International, Paris, no.5 (new series), Winter 1988, p.42.
1989
Periodicals
“Artist’s dialogue: César, France’s master of creative excess” [on the artist’s studio in Paris and his home in the South of France], Architectural Digest, Los Angeles, vol.46 no.2, Feb. 1989, pp.27, 30; reprinted as “César, Montparnasse Paris / Saint-Paul-de-Vence 1988” in Interviews with artists, 1966-2012 (2012), pp.212-215.
“Artist’s dialogue: Piero Guccione: Sicilian perspectives”, Architectural Digest, Los Angeles, vol.46 no.3, Mar. 1989, pp.254, 258, 262; reprinted as “Piero Guccione”, in Piero Guccione: recent paintings and drawings, catalogue of an exhibition at James Goodman Gallery, New York, 1989, pp.[5-7]; reprinted as “Piero Guggione, Scicli Sicily 1988” in Interviews with artists, 1966-2012 (2012), pp.224-228.
“Editorial: Perceptions on the present” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.6 (new series), Spring 1989, p.[2].
“Hans Namuth: Artists’ portraits” [interview], Art International, Paris, no.6 (new series), Spring 1989, pp.40-49; reprinted as “Hans Namuth, Chelsea New York 1989” in Interviews with artists, 1966-2012 (2012), pp.280-284.
“José María Sicilia: Escaping the tyranny of style” [interview], Art International, Paris, no.6 (new series), Spring 1989, pp.71-76; reprinted as “José María Sicilia, Barbès Paris 1989” in Interviews with artists, 1966-2012 (2012), pp.406-410.
“Turin’s most surprising museum” [on the Castello di Rivoli], Architectural Digest, Los Angeles, vol.46 no.5, May 1989, pp.124-128.
“The Rietberg Museum in Zurich” [on Baron Eduard von der Heydt’s collection of Asian and African art in the former Villa Westdonck], Architectural Digest, Los Angeles, July 1989, vol.46 no.7, pp.74-78.
“Editorial” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.7 (new series), Summer 1989, p.[2].
“Editorial” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.8 (new series), Autumn 1989, p.[2].
“In Francis Bacon’s studio” [with photographs by Jesse Fernandez], Art International, Paris, no.8 (new series), Autumn 1989, pp.16-22.
“An interview with Francis Bacon: Provoking accidents, prompting chance]” Art International, Paris, no.9 (new series), Autumn 1989, pp.28-32; reprinted in “Three interviews with Francis Bacon” in Francis Bacon: a retrospective, catalogue of exhibition at Yale Center for British Art, New Haven, CT, & travelling, 1999, pp.46-50; reprinted with Spanish & Valencian translations in ““Three interviews with Francis Bacon = Tres entrevistas con Francis Bacon” / “Tres entrevistas amb Francis Bacon” in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition curated by MP at IVAM Institut Valencià d’Art Modern, & travelling,2003, & travelling, pp.192-199, 279-280; revised version published as “Interview three: Provoking accidents, prompting chance” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.188-197 (“The following interview was recorded in Francis Bacon’s studio at the beginning of 1989 and was published later that year in the magazine Art International. When I listened to the tape again, I realised I had left out a number of exchanges – about Versailles, about Shakespeare – that had not seemed particularly relevant then. I have put these and other asides into this revised version because they give a more complete idea of the way the conversation ranged”. – p.189.); reprinted in Interviews with artists, 1966-2012 (2012), pp.24-34; German translation published as “Inerview III” in Gespräche in der Nacht: Francis Bacon über seine Arbeit, Piet Meyer Verlag, Bern 2011, pp.73-84; reprinted in Conversations: Francis Bacon, Strasbourg: L’Atelier contemporain, 2019, pp.143-151.
“Editorial: Reviewing the Eighties” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.9 (new series), Winter 1989, p.[2].
Exhibition catalogues
“Piero Guccione”, in Piero Guccione: recent paintings and drawings, catalogue of an exhibition at James Goodman Gallery, New York, 18 May – 9 June 1989. New York: James Goodman Gallery, 1989, pp.[5-7]; previously printed as “Artist’s dialogue: Piero Guccione: Sicilian perspectives”, Architectural Digest, Mar. 1989, pp.254, 258, 262; reprinted as “Piero Guccione, Scicli Sicily 1988” in Interviews with artists, 1966-2012 (2012), pp.224-228.
1990
Periodicals
“Editorial: How vital are museums?” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.10 (new series), Spring 1990, p.[2].
“Editorial: Open frontiers” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.11 (new series), Summer 1990, p.[2].
“Barcelona: A foundation for Tàpies”, Art International, Paris, no.11, Summer 1990, p.25.
“Bacon aux sources” [translated by Elisabeth Galloy], Artstudio, Paris, no.17, Summer 1990 (Spécial Francis Bacon), pp.126-139.
“Gardens: Renoir’s Eden, Les Collettes: the artist’s years at Cagnes”, Architectural Digest, Los Angeles, vol.47 no.6, June 1990, pp.198-203.
“Editorial: How we value art” [by MP, Jill Lloyd, Thomas West], Art International, Paris, no.12, Autumn 1990, p.[2].
“André Emmerich: ‘We all inhabit a time-frame in which tastes are shared’” [interview], Art International, Paris, no.12 (new series), Autumn 1990, pp.30-33; reprinted as “André Emmerich: portrait of an art dealer” in The making of modern art: selected writings (2020), pp.113-117.
“An interview with Antoni Tàpies: The soul revealed by the hand”, Art International, Paris, no.13 (new series) Winter 1990, pp.34-40; reprinted with Portuguese translation & new introduction dated Sept. 2004 as “A alma guiada pelas mãos: una entrevista com Antoni Tàpies = The soul guided by the hand: an interview with Antoni Tàpies”, in Antoni Tàpies, catalogue of an exhibition at Centro Cultural Banco do Brasil, São Paulo, 2004-2005 & travelling to Rio de Janeiro & Brasilia, 2025, pp.21-26 (Portuguese text), 27-32 (English text); reprinted as “Antoni Tàpies, El Putxet Barcelona 1990” in Interviews with artists, 1966-2012 (2012), pp.370-377.
“International investor and collector: Gilbert de Botton” [interview], Art Intenational, Paris, no.13 (new series), Winter 1990, pp.57-61; reprinted as “Gilbert de Botton: portrait of an art collector” in The making of modern art: selected writings (2020), pp.107-112.
“Wine taster’s choice: two wine bars in Paris”, Connoisseur, New York, vol.220, Nov. 1990, pp.142-143 (as ‘Michael Henry).
“Editorial: The true focus” [by MP, Jill Lloyd], Art International, Paris, no.13 (new series), Winter 1990, p.[2].
“New York: Farewell to Hans Namuth”, Art International, Paris, no.13 (new series), Winter 1990, p.26.
Exhibition catalogues
[“Préface”] (parallel English-French text, translated from English by Christophe Domino), in Lucian Freud: L’Œuvre gravé; Préface de Michael Peppiatt, catalogue of an exhibition at Galerie Berggruen, Paris, 1990 [printed 3 Apr. 1990]. Paris: Berggruen & Cie., 1990, pp.[7-15].
“The School of London in Europe”, in The pursuit of the real: British figurative painting from Sickert to Bacon, edited by Tim Wilcox, with essays by Andrew Causey, Linda Checketts and Michael Peppiatt, catalogue of exhibition at Manchester City Art Gallery, 10 Mar. – 22 Apr. 1990; Barbican Art Gallery, London, 10 May – 8 July 1990; Glasgow City Art Gallery, 28 July – 16 Sept. 1990. London: Lund Humphries, in association with Manchester City Art Galleries, 1990, pp.37-42.
1991
Periodicals
“Celebrating Le Corbusier in Zurich” [on the Heidi Weber House in Zurich, containing a colection of artworks by Le Corbusier], Architectural Digest, Los Angeles, vol.48 no.3, Mar. 1991, pp.54-60.
“Paris, the art capital again?”, Connoisseur, New York, vol.221, Mar. 1991, p.30 (as Michael Henry).
“Editorial: The cannibalism of styles”, Art International, Paris, no.14 (new series), Spring/Summer 1991, p.[2].
“Introduction: Per Kirkeby” [unsigned], Art International,Paris, no.14 (new series), Spring/Summer 1991, p.41.
“In the studio with Per Kirkeby: “Good painting is more kitschy than tasteful” [interview], Art International, Paris, Spring/Summer 1991, pp.42-48; reprinted as “Per Kirkeby, Copenhagen 1991” in Interviews with artists, 1966-2012 (2012), pp.306-312.
“Give or take a few infidelities” [review of O’Keeffe and Stieglitz: an American romance by Benita Eisler, Doubleday, 1991], New York Times, New York, 26 May 1991, p.9; reprinted as “O’Keeffe and Stieglitz: an American romance” in The making of modern art: selected writings (2020), pp.182-185.
“Conversations with lions” [review of Matisse, Picasso, Miró as I knew them by Rosamond Bernier, Alfred A. Knopf], New York Times Book Review, New York, 10 Nov. 1991, p.13.
Exhibition catalogues
[Pierre Soulages: entretrien], Galerie Jade, [Colmar], May 1991.
1992
Periodicals
“The soul of Segovia: the Marquesa de Lozoya’s treasure house of Spanish style”, Architectural Digest, Los Angeles, vol.49 no.1, Jan. 1992, pp.36, 40-43.
“Monastic spirit in Toledo: renovating a 17th-century Capuchin residence” [on the redesign by itnerior designer Paco Muñoz], Architectural Digest, Los Angeles, vol.49 no.1, Jan. 1992, pp.108-113.
“A Madrid original: designers’ imagination flourishes above the Plaza de Oriente” [on the transformation of their apartment by interior designers Román Arango & Pin Morales], Architectural Digest, Los Angeles, vol.49 no.1, Jan. 1992, pp.120-125.
“Antoni Tàpies’ Spanish diptych: the artist’s life in Campíns and Barcelona”, Architectural Digest, Los Angeles, vol.49 no.1, Jan. 1992, pp.126-131.
“Aldo Rossi’s Vassivière Art Center” [on the Center of Contemporary Art on Vassivière designed by Aldo Rossi with the help of Xavier Fabre], Architectural Digest, Los Angeles, vol.49 no.3, Mar. 1992, pp.58, 62-64.
“Art: Modern illustrated books: dynamic fusions of word and image”, Architectural Digest, Los Angeles, vol.49 no.1, Mar. 1992, pp.156-158, 176; reprinted as “Painters and poets” in The making of modern art: selected writings (2020), pp.86-89.
“Francis Bacon: ‘El arte actual no es más que una forma de hacer dinero’” [interview with Francis Bacon], Tribuna, Madrid, 4 May 1992, pp.112-113 (as “Michael Pappatt”).
“Dramatic spaces above the bright lights: sweeping rooms that play to panoramic vistas” [on a Manhattan apartment decorated by interior designer Thomas Britt], Architectural Digest, Los Angeles, vol.49 no.11, Nov. 1992, pp.142-149.
“Donald Sultan’s Paris apartment: the American artist in a continental mode”, Architectural Digest, Los Angeles, vol.49 no.12, Dec. 1992, pp.122-127, 196.
Exhibition catalogues
[text], in Ben Jakober: Crucigrams, catalogue of an exhibition at Galerie Montenay, Paris, 1992. Paris: Galerie Montenay, 1992.
[text], in Miguel Condé, catalogue of an exhibition at Galerias Ignacio de Lassaletta, Barcelona, 1992. Barcelona: Galerias Ignacio de Lassaletta, 1992; English version published as “Miguel Condé, Rue des Archives Paris 1992” in Interviews with artists, 1966-2012 (2012), pp.314-324.
1993
Periodicals
“Historic houses: Maurice Denis: the artist’s residence and studio in Saint-Germain-en-Laye” [on the Musée départemental du Prieuré, the Maurice Denis Museum], Architectural Digest, Los Angeles, vol.50 no.1, Jan. 1993, pp.44-47.
“A Swiss accord: adapting the palette for Geneva and Gstaad” [on interiors designed for the same family by Alain Demachy], Architectural Digest, Los Angeles, vol.59 no.1, Jan. 1993, pp.130-137.
“AD travels: Insel Hombroich: a unique preserve for nature and art in Germany” [on the river-island near Düsseldorf], Architectural Digest, Los Angeles, vol.50 no.2, Feb. 1993, pp.102-114.
“Jean Weinfeld’s Bauhaus refrain: musical instruments tuned to a modernist aesthetic” [on his sculpted musical instruments], Architectural Digest, Los Angeles, vol.50 no.3, Mar. 1993, pp.62, 66, 70.
“AD travels: the Jacquemart-André Collection: two extraordinary residential museums in Paris and Chaâlis” [on the Domaine de l’Abbaye de Chaâlis & the Musée Jacquemart-André], Architectural Digest, Los Angeles, vol.50 no.3, Mar. 1993, pp.62-70.
“Small wonder in Manhattan: introducing scale and drama to a tiny East Side apartment” [on the redesign by Thomas Britt of his assistant Cathleen Quinlan’s apartment], Architectural Digest, Los Angeles, vol.50 no.3, Mar. 1993, pp.142-147.
“Musical instruments tuned to a modernsi aesthetic” [on the Fonics of Jean Weinfeld], Architectural Digest, Los Angeles, vol.50 no.5, May 1993, p.62.
“Well worth the hype” [on Miquel Barceló & José Maria Sicilia], Town & Country, New York, vol.147 no.5157, June 1993, pp.100-101, 110.
“All the color was on the canvas: in Picasso’s shadow, Juan Gris quietly created Cubist masterpieces” [review of Juan Gris by Christopher Green, with contributions by Christian Derouet & Karin von Maur, Yale University Press, 1992], New York Times Book Review, New York, 13 June 1993, p.32; reprinted as “Juan Gris: all the colour was on the canvas” in The making of modern art: selected writings.(2020), pp.68-71.
“Bernar Venet in Provence: the sculptor’s converted mill and studio”, Architectural Digest, Los Angeles, vol.50 no.7, July 1993, pp.138-145.
“Switzerland’s Oskar Reinhart Collection: inside one of the world’s best small museums” [on the museum in Winterthur], Architectural Digest, Los Angeles, vol.50 no.11, Nov. 1993, pp.114122.
“Netherlands phoenix: a residence near Amserdam rises from the ashes” [on an early 20th century house restored by interior designer Axel Vervoordt], Architectural Digest, Los Angeles, vol.50 no.11, Nov. 1993, pp.140-149.
“Art that cast a long shadow: a life of Rodin, the master sculptor who celebrated sexuality and shocked a generation” [review of Rodin: the shape of genius by Ruth Butler, Yale University Press, 1993], The New York Times Book Review, New York, 14 Nov. 1993, p.3; reprinted as “Auguste Rodin’s women” in The making of modern art: selected writings.(2020), pp.34-37.
“Faux prophet: in creating magical environments for his famous clients, designer Renzo Mongiardino finds the faux is often more real than the real”, Harpers Bazaar, New York, no.3385, Dec. 1993, pp.178-181, 212-214.
Exhibition catalogues
Francis Bacon, catalogue of an exhibition, for which MP was on the Scientific Committe, at Museo d’Arte Moderna, Lugano, 7 Mar. – 30 May 1993. Milan: Electa, 1993, 184p., 162 illus. (68 col.). (Texts by MP: “A vision fulfilled”, pp,.69-114; “Catalogue” (by Jill Lloyd & MP), pp.135-164; “Biography”, pp.165-173).
1994
Periodicals
“Florentine fresco: Fiamma di San Giuliano Ferragamo’s apartment is a work of art” [on the Florentine residence of the Marchese and Marchesa di San Giuliano], Architectural Digest, Los Angeles, vol.51 no.1, Jan. 1994, pp.62-69.
“The Galerie Beaubourg: a sculpture garden flourishes near the Cóte d’Azur” [on the gallery and sculpture garden in the Château Notre-Dame-des-Fleurs in Vence, run by Pierre and Marianna Nahon], Architectural Digest, Los Angeles, vol.51 no.5, Jan. 1994, pp.168-175.
“Egyptomania: No other civilization has influenced Western design more than that of Ancient Egypt. A new show at the Louvre explores our many debts to the Pharaohs”, Town & Country, no.5165, Feb. 1994, p.114.
“Art: Modern textile designs, bold works on paper fuse the fine abd the decorative arts” [on late 19th and early 20th century textile designs], Architectural Digest, Los Angeles, vol.51 no.5, May 1994, pp.176-181, 203.
“The gleam in Pompidou’s eye” [review of The making of Beaubourg: a building biography of the Centre Pompidou by Nathan Silver], New York Times Book Review, New York, July 1994, p.29.
“Antiques: French straw work: surprising decorative effects from the humblest of materials”, Architectural Digest, Los Angeles, vol.51 no.8, Aug. 1994, p.94.
“Loire Valley impressions: the Duke and Duchess de Caraman at Le Grand Launay” [on Jean and Elga de Caraman’s renovated 16th century manor house], Architectural Digest, Los Angeles, vol.51 no.8, Aug. 1994, pp.122-129.
“Catherine Marioton remembers: the noted illustrator recalls fashion’s golden age” [interview], Architectural Digest, Los Angeles, vol.51 no.10, Oct. 1994, pp.82-92.
“The Galerie Beaubourg: a sculpture garden flourishes near the Côte d’Azur” [on Pierre Nahon’s gallery and sculpture garden in Vence], Architectural Digest, Los Angeles, vol.51 no.11, Nov. 1994, pp.169-176.
‘“The judgment of Paris: The Biennale des Antiquaires, being held in Paris this month, is always a splendid show. For many of the exhibitors, it is also a make-or-break occasion”, Town & Country, New York, vol.148 no.5174, Nov,. 1994, p.176.
“Scenes from Provence: Lady Sandra Lean in the South of France” [on the former olive mill transformed by the late Sir David Lean and Lady Sandra Lean], Architectural Digest, Los Angeles, vol.51 no.12, Dec. 1994, pp.118-125.
1995
Periodicals
“Ira von Fürstenberg’s English accents: a London base for the peripatetic princess”, Architectural Digest, Los Angeles, vol.52 no.1, Jan. 1995, pp.82-87.
AD Travels: Zurich’s Interiors Museum: An intimate glimpse into a vanished Swiss era” [on the Wohnemuseum or Interiors Museum], Architectural Digest, Los Angeles, vol.52 no.2, Feb.1996, pp.70-78.
“Wit’s end” [review of exhibition by Whistler at the Musée d’Orsay in Paris], Town & Country, New York, vol.149 no.5177, Feb. 1995, p.137
“Antiques: European needlepoint rugs: enduring appeal of an intricate art form” [on 19th century European needlepoint rugs], Architectural Digest, Los Angeles, vol.52 no.4, Apr. 1995, pp.144-149.
“Belgium’s De Groote Mot: a seventeenth-century castle rediscovers its roots” [on its renovation by Axel Vervoordt], Architectural Digest, Los Angeles, vol.52 no.5, May 1995, pp.102-113.
“Art & criticism: A School or not a School”, Modern Painters, vol.8 no.2, Summer 1995, pp.64-66 [published on the occasion of British Council exhibition From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj at Scottish National Gallery of Modern Art, Edinburgh, 1995, travelling to Luxembourg, Lausanne & Barcelona].
“Stone diaries in Provence: reclaiming a shepherd’s house for contemporary living” [on the restoration of a house outside Toulouse by the artists Yves Niore and Caroll Bertin], Architectural Digest, Los Angeles, vol.52 no.8, Aug. 1995, pp.126-131.
“A passage to India: a textile designer’s haveli in the royal city of Amber” [on the building restored by Brigitte Singh and Surya Vijay Singh], Architectural Digest, Los Angeles, vol.52 no.9, Sept. 1995, pp.224-230.
“Brancusi’s back!” [review of exhibition at the Philadelphia Museum of Art], Town & Country, New York, vol.149 no.5186, Oct. 1995, p.56.
Exhibition catalogues
“Entretien avec Zoran Music”, in Zoran Music, catalogue of an exhibition at Galeries nationales du Grand Palais, Paris, 4 Apr. – 3 July 1995. Paris: Réunion des Musées Nationaux, 1995, pp.227-229; English version published as “Zoran Music, Dorsoduro Venice 1995” in Interviews with artists, 1966-2012 (2012), pp.335-340; reprinted in “Zoran Music: interviews, 1988-1998” in Zoran Music: The Zurich Room: works and studio, catalogue of an exhibition at Palazzo Attems Petzenstein, Gorizia, 2026, pp.215-231.
Audiovisual
[interview on work on the Francis Bacon biography, etc.], on The Selina Scott Show, ITN, 13 Apr. 1995.
1996
Books
Francis Bacon: Anatomy of an enigma. London: Weidenfeld & Nicolson, 1996; xviii, 366p., [24]p. of black & white plates (Contents: Acknowledgements, p.xiii; Preface, pp.xv-xviii; text: pp.1-323; Notes, pp.324-342; Main exhibitions, pp.343-344; Selected bibliography, pp.345-350; Index, pp.351-366); British paperback edition published in 1997 by Orion Books, London, in series “Phoenix Giant”, 366p, [24p. of black & white plates; American hardback edition published in 1997 by Farrar, Straus & Giroux, 1997; American paperback edition published in 1998 by Westview Press, Boulder, CO, in series “Icon Editions”; Castilian edition published in 1999 as Francis Bacon: anatomía de un enigma, by Gedisa Editorial, Barcelona, translated by Cristina Salmeron, 397p; German edition published in 2000 as Francis Bacon: Anatomie eines Ratsels; aus dem Englischen von Franca Fritz und Heinrich Koop, by Dumont Buchvrerlag, Köln; 384p, 52 black & white illustrations;; French edition published in 2004 as Francis Bacon: anatomie d’une enigme, by Flammarion, Paris, translated by Jeanne Bouniort, in series ‘Grandes biographies’, 395p., 8 black & white illus.; paperback edition published in 2019; Japanese edition published in 2005 by Shinchosha, Tokyo, translated by Sachiko Natsume, 320p., 27 illus. (9 col.) Extracts published in four successive issues of The Times, London, as “Francis Bacon revealed”: day one: “The making of an artist – from weakling to an enigmatic master”, 7 Oct. 1996, pp.16-17; day two: “Two men, and Nanny made three”, 8 Oct. 1996, p.14; day three: “The howl of an iconoclast: After a 15-year apprenticeship Bacon finds his voice”, 9 Oct. 1996, p.17; day four: “Bacon falls violently in love”, 10 Oct. 1996, p.19; extracts published in Francis Bacon: Important paintings from the estate, with essays by David Sylvester, Sam Hunter and Michael Peppiatt; and the John Deakin photographs, catalogue of an exhibition at Tony Shafrazi Gallery, New York, 1998-1999, pp.78-83 (revised and updated edition publ. by Constable, London, 2008).
“interview with Louis le Brocquy = Entretien avec Louis le Brocquy = Interview mit Louis le Brocquy” (parallel English/French/German text) [previously published in Art International, Oct. 1979, pp.60-66; reprinted as “Louis le Brocquy, Carros France 1979” in Interviews with artists, 1966-2012 (2012), pp.358-369], in Louis le Brocquy: The head image: interviews with the artist, published on the occasion of exhibition at the Irish Museum of Modern Art, Dublin, 1996. Kinsale, Co. Cork: Gandon Editions, 1996, pp.22-25 (English text), 166-169 (French text), 178-181 (German text).
Periodicals
“On the French Riviera: classical warmth for Saint-Jean-Cap-Ferrat” [on the interior design of a Palladian-style villa by Axel Vervoordt], Architectural Digest, Los Angeles, vol.53 no.1, Jan. 1996, pp.48-55.
“Sunshine superman” [review of exhibition by David Hockney at the Los Angeles County Museum of Art], Town & Country, New York, vol.150 no.5191, Apr. 1996, p.43.
“The great late Degas” [review of exhibition Degas: Beyond Impressionism at the Art Institute of Chicago], Town & Country, New York, vol.150 no.5194, Sept. 1996, p.44.
* “Corinth discovered” [review of the Lovis Corinth exhibition in Munich, Berlin, St. Louis & Tate Gallery, London], Town & Country, New York, vol.150 no.5199, Sept. 1996, p.82.
“Picasso talked soup with her. Poliakoff serenaded her. Giacometti even drew her. But above all they confided in her: Michael Peppiatt meets Alice Bellony-Rewald, artists’ muse”, The Guardian, London, 30 Dec. 1996, pp. A16-A17; reprinted as “Alice Bellony-Rewald: portrait of a muse” in Artists’ lives (2023), pp.101-107.
Exhibition catalogues
“[interview], in Ida Barbarigo, catalogue of an exhibition at Galleria Contini, Venice, 1996. Venice: Galleria Contini, 1996.
1997
Periodicals
“Splash: Jackson Pollock’s influence is everywhere, according to one New York critic” [review of The fate of a gesture: Jackson Pollock and Postwar American art by Carter Ratcliff], The New York Times Book Review, Feb. 1997, p.9.
“Modern French lacquer: gleaming surfaces by eminent Art Deco designers” [on Parisian Art Deco lacquer, including work by Jean Dunand and Eileen Gray], Architectural Digest, Los Angeles, vol.54 no.3, Mar. 1997, pp.120-123, 184.
“Domaine de la Picquoterie: a medieval manor house reclaimed for visitors in Normandy” [on the transformation of an abandoned 14th century house into a hotel by the artist Jean-Gabriel Laloy], Architectural Digest, Los Angeles, vol.54 no.4, Apr. 1997, pp.200-205.
“Four Seasons Istanbul: a luxurious new presence in the heart of Turkey’s ancient city” [on the design of the Four Seasons Hotel Istanbul, created by Sinan Kafadar], Architectural Digest, Los Angeles, vol.54 no.5, May 1997, pp.192-204.
“The great late Braque” [review of exhibition at the Menil Collection in Houston]], Town & Country, New York, vol.151 no.5204, May. 1997, p.68.
“The shock of the true: the English establishment had deep reservations about religious and sexual elements in Stanley Spencer’s work” [review of Stanley Spencer: a Biography by Kenneth Pople], New York Times Book Review, New York, 29 June 1997, p.8.
“Treasures of Cambodia” [review of exhibition Sculpture of Angkor and Ancient Cambodia at the National Gallery of Art, Washington], Town & Country, New York, vol.151 no.5206, July 1997, p.39.
“Dora Maar [obituary]’, The Independent, London, 2 Aug. 1997, p.14; reprinted as “A tribute to Dora Maar” in Artists’ lives (2023), pp.96-100.
“Juan Montoya” [on the designer’s home in Manhattan], Architectural Digest, Los Angeles, vol.54 no.9, Sept. 1997, pp.232-237.
“Easton Square composition: practicing the art of informal comfort in London” [on art dealer Lucy R. Campbell’s redecoration of her home in Eaton Square, London], Architectural Digest, Los Angeles, vol.54 no.11, Nov. 1997, pp.222-227, 284.
1998
Books
Entretiens avec Francis Bacon, 1963-89, traduit de Patrice Cotensin. Paris, L’Échoppe, 1998; contents: previously published; French translation reprinted in as “Trois entretiens avec Francis Bacon” Francis Bacon: le sacré et le profane, catalogue (parallel French/English text) of an exhibition curated by MP at IVAM Institut Valencià d’Art Modern, 2003 – 2004; Fondation Dina Vierny-Musée Maillol, Paris, 2004. Paris: Fondation Dina Vierny – Musée Maillol, 2004, pp.43-51.
Periodicals
[Juan Gris], New York Times, New York, c.1998.
[Jackson Pollock and postwar American art], New York Times, New York, c.1998.
“Looking at Léger” [review of exhibition at the Museun of Modern Art in New York], Town & Country, New York, vol.152 no.5213, Feb. 1998, p.54.
“On foot in Paris: The Marais: In the first of a series of international art walks, Michael Peppiatt gives a guided tour of the Marais district, where he lived for over 20 years”, RA Magazine, London, no.58, Spring 1998, pp.24-25.
“Frank Auerbach” [interview], Tate: the Art Magazine, London, no.14, Spring 1998, pp.38-41; reprinted as “Talking to Frank Auerbach, London, 1998” in Painting heads: Frank Auerbach, Tony Bevan; with an introduction and four interviews by Michael Peppiatt, catalogue, publ. 2022, of exhibition curated by MP, titled ‘Frank Auerbach / Tony Bevan: What is a head?’ at Ben Brown Fine Arts, London, 2020-2021 & Ben Brown Fine Arts, Hong Kong, 2021, pp.83-89.
“Magic and mischief” [on 19th century depictions of fairy scenes in British paintings, book illustrations and on stage], Town & Country, New York, vol.152 no.5215, Apr. 1998, p.72.
“London’s in flower” [contribution to feature by 7 writers and photographers], Town & Country, New York, vol.152 no.5217, June 1998, p.122.
“For art’s sake” [on the exhibition Sensation at the Royal Academy of Arts, and other exhibitions in London], Town & Country, New York, vol.152 no.5217, June 1998, p.132.
“What’s onstage?” [on London theatre, dance, opera and music], Town & Country, New York, vol.152 vol.5217, June 1998, p.137.
“Living with antiques” [on the New York apartment of antique dealers Robert and Ellen Israel of Kentshire Galleries], Architectural Digest, Los Angeles, vol.55 no.8, Aug. 1998, pp.118-123.
“A rare look inside Boodle’s: the venerable London club unveils its restoration”, Architectural Digest, Los Angeles, vol.55 no.10, Oct. 1998, pp.72-81.
“Small wonders: miniature visions created with consummate craft” [on the miniature interiors collected by Neale Albert], Architectural Digest, Los Angeles, vol.55 no.10, Oct. 1998, pp.88-92.
“The hamlet of Marie Antoinette” [on the rustic village built for Marie Antoinette near Versailles], Architectural Digest, Los Angeles, vol.55 no.10, Oct. 1998, pp.226-264.
“No stone unturned”, Town & Country, New York, vol.152 no.11, Nov. 1998, p.122.
“Manhattan portrait: English aesthetic for a designer’s own penthouse apartment” [on interior designer Anthony P. Browne’s apartment], Architectural Digest, Los Angeles, vol.55 no.12, Dec. 1998, pp.170-175.
“London’s Hugh House: classical details define a residence on Easton Square” [on its renovation by interior designer Marie-Luis Charmat], Architectural Digest, Los Angeles, vol.55 no.12, Dec. 1998, pp.186-190, 249.
“Paranoia personified: a biography of the Spanish Surrealist and a critical examination of his work” [review of The shameful life of Salvador Dalí by Ian Gibson, W.W. Norton, 1997], New York Times [Book Review], New York, 22 Nov. 1998, p.11; reprinted as “The shameful life of Salvador Dalí” in Artists’ lives (2023), pp.176-181.
Exhibition catalogues
“Zoran Music fra le ombre e il sole = Zoran Music between the shadows and the sun” (parallel Italian/English text), in Zoran Music: gli acquerelli veneziani = The Venetian watercolours 1947-1949, catalogue of an exhibition at Museo Morandi, Bologna, 22 Jan. – 13 Apr.1998. Bologna: Museo Morandi, 1998, pp.15-19 (Italian text), 20-23 (English text); the text incorprates interview, “Zoran Music: ispirato da Dachau = Zoran Music: inspired by Dachau”, previously published in English as “Zoran Music: Inspired by Dachau” [interview], Art International, Spring 1988, pp.22-27; reprinted as “Zoran Music, Rue des Vignes Paris 1987” in Interviews with artists, 1966-2012 (2012), pp.326-334.
“L’École de Londres” [translated by Françoise Gaillard], in L’École de Londres: De Bacon à Bevan, catalogue of an exhibition co-curated by MP, assisted by Jill Lloyd, at Fondation Dina Vierny-Musée Maillol, Paris, 10 Oct. 1998 – 20 Jan. 1999, travelling to Auditorio de Galicia, Santiago de Compostella, 13 Feb. – 4 Apr. 1999, & KunstHausWien, Vienna, 11 May – 29 Aug. 1999. Paris: Musée Maillol, 1998, pp.15-29; French translation of text originally published as “A School of London” in The School of London: six figurative painters, catalogue of an exhibition organised by the British Council, in Oslo & travelling, 1987-1988, pp.7-13; revised version published as “Could there be a School of London?” in Art International, Autumn 1987, pp.7-21.
“Extracts from Francis Bacon: Anatomy of an enigma” [extracts, selected by Tony Shafrazi & MP, from book published in 1996], in Francis Bacon: Important paintings from the estate, with essays by David Sylvester, Sam Hunter and Michael Peppiatt; and the John Deakin photographs, catalogue of an exhibition at Tony Shafrazi Gallery, New York, [31 Oct. 1998 – 16 Jan. 1999]. New York: Tony Shafrazi Gallery, 1998, pp.78-83.
1999
Books
Francis Bacon à l’atelier, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 1999; 55p. (French translation of revised version of “Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-5; published as “Francis Bacon: The anatomy of an enigma”, Art International, Sept.-Nov. 1984, pp.4-18); Castilian translation published as Francis Bacon en su estudio; traducción de Jordi Ainaud i Escudero. Barcelona: Editorial Elba, 2018, 72p., illus.
Espace et lumière: Richard Meier et Sean Scully: conversation avec Michael Peppiatt [translated by Patrice Cotensin] [originally recorded and edited for New York Times as “Space and light: Richard Meier and Sean Scully talk to Michael Peppiatt” but unpublished]. Paris, L’Échoppe, 1999, 37p..
Periodicals
“The shameful life of Salvador Dalí’ (review of book with this title by Ian Gibson, 1997), in Biography (Honolulu), 1999, vol.22 no.2, p.287.
“Bugatti lives! [on two Volkswagen models based on Bugatti’s designs], Architectural Digest, Los Angeles, vol.56 no.1, Jan. 1999, pp.40-42.
“More on Moreau” [review of the exhibition by Gustave Moreau at the Art Institute of Chicago], Town & Country, New York, vol.153 no.5226, Mar. 1999, p.62.
“Think of ju-ju” [review of exhibition ‘Francis Bacon: works on paper’ at Tate Gallery, London], The Times Literary Supplement, London, no.5007, 19 Mar. 1999, p.21.
[A painter’s trail of unanswered questions], The Chronicle of Higher Education, Apr. 1999.
“Under the spell of Provence: reawakening the spirit of Château de Montfort” [on its restoration by architects Philippe Caron and Stephen Betts and interior designer Keith Skeel], Architectural Digest, Los Angeles, vol.56 no.7, July 1999, pp.126-135.
“A Belgian Modernist: two elegant new designs by Marc Corbiau”, Architectural Digest, Los Angeles, vol.56 no.8, Aug. 1999, pp.54-58.
“Domaine Guerlain: the renowned perfumier’s ancestral estate near Paris” [on the estate of Jean-Paul Guerlain in Normandy, redesigned by Jean-Jacques Hervy], Architectural Digest, Los Angeles, vol.56 no.8, Aug. 1999, pp.82-91.
“Serge Royaux: the French master at his house in the Dordogne Valley” [on the interior designer’s home, dating from 1750], Architectural Digest, Los Angeles, vol.56 no.9, Sept. 1999, pp.248-255.
“Marcello Mastroianni in Paris: the late actor’s private refuge on the Left Bank”, Architectural Digest, Los Angeles, vol.56 no.10, Oct. 1999, pp.86, 90, 94-98.
“Now he must pay the full price of his privacy” [review of Balthus: a biography by Nicholas Fox Weber, Weidenfeld & Nicolson], Literary Review, London, no.257, Nov. 1999, pp.14-15.
“Trompe l’oeil: John Richardson’s memoir revisits his years with Douglas Cooper in the South of France” [review of The sorcerer’s apprentice: Picasso, Provence and Douglas Cooper by John Richardson, Knopf, 1999], New York Times Book Review, New York, 12 Dec. 1999, p.8; reprinted as “John Richardson: the sorcerer’s apprentice” in Artists’ lives (2023), pp.108-113.
Exhibition catalogues
Escola de Londres, catalogue (parallel Galician / Spanish / English text) of exhibition co-curated by MP & Jill Lloyd, Auditorio de Gailicia, Santiago de Compostela, 13 Feb. – 4 Apr. 1999 (Texts by MP: (Foreword), p.19; “A Escola de Londres = La Escuela de Londres = The School of London”, pp21-33, 234-241 [previously published as “A School of London” in A School of London: six figurative painters, catalogue of an exhibition organised by the British Council, at Kunstnernes Hus, Oslo, & travelling, 1987-1988, pp.7-13; revised version published as “Could there be a School of London?”, Art International, Autumn 1987, pp.7-21]; “Francis Bacon e Michael Peppiatt = Francis Bacon and Michael Peppiatt = Franvis Bacon y Michael Peppiatt” [interview], pp.51-53, 248-252 [“The interview took place first in Francis Bacon’s studio in London, then during a visit by the artist to Art International in Paris in 1987” – p.248; previously published as “Francis Bacon: Reality conveyed by a lie”, Art International, Paris, Autumn 1987, pp.30-33]; “Francis Bacon no su traballo” = “Francis Bacon at work” = “Francis Bacon en su trabajo”, pp.54-64, 250-258 [“a revised and enlarged version of the essay” published in French as “Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-57, previously published as “Francis Bacon: The anatomy of an enigma”, Art International, Sept.-Nov. 1984, pp.4-18]; “Frank Auerbach: indo cointra corrente” = “Frank Auerbach” going against the grain” = “Frank Auerbach: yendo contra corriente”, pp.123-127, 261-269 [previously published in Art International, Autumn 1987, pp.22-29]; “R.B. Kitaj: a diàspora en Londres” = “R.B. Kitaj: The Diaspora in London” = “R.B. Kitaj: La diàspora en Londres”, pp.139-142, 264-269 [previously published in Art International, Autumn 1987, pp.34-38]; “Raymond Mason e Michael Peppiatt” = “Ratmond Mason and Michael Peppiatt” = “Raymond Mason y Michael Peppiatt” [interview], pp.153-158, 266-273 [previously published as “Responses by Raymond Mason to questions by Michael Peppiatt” in Raymond Mason: Coloured sculptures, bronzes and drawings 1952-1982, catalogue of an exhibition at Serpentine Gallery, London, 1982-1983, & travelling, pp.12-16]). Travelling to KunstHausWien, Vienna, 11 May – 29 Aug. 1999, catalogue published as School of London (parallel German-English text), Wien: KunstHausWien, 1999.
“Francis Bacon at work”, in Francis Bacon: a retrospective, catalogue of an exhibition at Yale Center for British Art, New Haven, CT, 25 Jan. – 21 Mar. 1999; Minneapolis Institute of Arts, 8 Apr. – 27 May 1999; Fine Arts Museums of San Francisco, 13 June – 2 Aug. 1999; Modern Art Museum of Fort Worth, 20 Aug. – 15 Oct. 1999. New York: Harry N. Abrams, Inc., in association with the Trust for Museum Exhibitions, 1999, pp.25-37; “a revised and enlarged version of the essay” published in French as “Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-57; previously published as “Francis Bacon: The anatomy of an enigma”, Art International, Sept.-Nov. 1984, pp.4-18.
“Three interviews with Francis Bacon” in Francis Bacon: a retrospective, catalogue of an exhibition at Yale Center for British Art, New Haven, CT, 25 Jan. – 21 Mar. 1999; Minneapolis Institute of Arts, 8 Apr. – 27 May 1999; Fine Arts Museums of San Francisco, 13 June – 2 Aug. 1999; Modern Art Museum of Fort Worth, 20 Aug. – 15 Oct. 1999. New York: Harry N. Abrams, Inc., in association with the Trust for Museum Exhibitions, 1999, 38-50 (originally published in Cambridge Opinion, 1964 – pp.41-42; Art International, Autumn 1987 – pp.42-45; Art International, Autumn 1989 – pp.46-50).
“Introduction” [dated Aug. 1999], in John Lessore, catalogue of an exhibition at Wolsey Art Gallery, Ipswich, 9 Oct. – 21 Nov. 1999. Ipswich: Ipswich Borough Council, 1999, pp.4-5..
Audiovisual
A brilliant fool like me: Francis Bacon in the sixties, lecture delivered at the Tate Gallery on 19 Feb. 1999. Tape in the Tate Archive, Open Access. TAV 2795A
“Agnes Lynch Anderson Lecture”, 11 Apr. 1999.
2000
Books
Zoran Music: entretiens 1988-1998. Paris, L’Échoppe, 2000, 39p; German translation published as Zoran Musić: Gespräche 1988-1998; aus dem französischen von Franziska Raimund. Salzburg, Paris: Tartin Editionen (series: “Untendurch”, 2), 60p., illus.; published in English translation in Zoran Music, catalogue of an exhibition curated by MP at Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, 2000, as “Interview 2, Venice, 1995” & “Interview 3, Paris, 1997-98”; reprinted as “Zoran Music, Saint-Germain-des-Près Paris 1999” in Interviews with artists, 1966-2012 (2012), pp.341-347.
Periodicals
“Gotham revivalism: discovering the Georgian roots of a turn-of-the-century town house” [on a building on New York City’s Upper East Side], Architectural Digest, Los Angeles, vol.57 no.2, Feb. 2000, pp.186-193, 239.
“A Majorcan idyll: the new Gran Hotel Son Net occupies a seventeenth-century estate on the famed Mediterranean island” [on its restoration by its owner David Stein and the architect and designer Antonio Obrador], Architectural Digest, Los Angeles, vol.57 no.3, Mar. 2000, pp.168-175, 205.
“A collector’s legacy in Avignon: inside the aesthetic realm of the Fondation Angladon-Dubrujeaud”, Architectural Digest, Los Angeles, vol.57 no.5, May 2000, pp.106-117.
“New York, pour l’espace: le sculpteur Bernar Venet a choisi New York, pour l’espace, et un ancien entrepôt de 2 000 m2 pour vivre, et pour y travailler”, AD France, Paris, May 2000, pp.80-86.
“One hundred years ago” [on the exhibition 1900: Art at the crossroads at the Guggenheim Museum, New York], Town & Country, New York, vol.154 no.5241, June 2000, p.108.
“Cheers for Chardin” [review of exhibition at the Metropolitan Museum of Art, New York], Town & Country, New York, vol.154 no.5241, June 2000, p.110.
“Pretty in Portugal: Beatriz Patiño’s summer house on the coast near Estoril” [on the architecture of Quinta Patiño and its collection of Portuguese antiques], Architectural Digest, Los Angeles, vol.57 no.7, July 2000, pp.116-123.
“Richard Meier dirige les projets architectaux les plus prestigieux du monde, dont l’importance rendrait insomniaques ses cionfrères. Mais entre deux avions le collage est la passion à laquelle il s’adonne” [translated by Catherine Ianco], AD France, Paris, July-Aug. 2000, pp.36-38; reprinted as “Richard Meier, Chelsea New York 2000” in Interviews with artists, 1966-2012 (2012), pp.158-163.
“A Mustique fantasy: re-creating Mughal magic on distant Caribbean shores” [on the Great House on Mustique with its interiors designed by Doug Patterson and Jonathan Fenton-Jones], Architectural Digest, Los Angeles, vol.57 no.8, Aug. 2000, pp.114-123.
“Les racines du peintre: entre les murs venerables d’un palais sur le Grand Canal, riche de souvenirs familiaux, naissent les œuvres d’une artiste aux racines venitiennes” [on the home in Venice of Ida Barbarigo], AD France, Paris, Sept. 2000, pp.118-128; reprinted as “Ida Barbarigo, Dorsoduro Venice 2000” in Interviews with artists, 1966-2012 (2012), pp.230-234.
“In full glory”, Town & Country, New York, vol.154 no.5246, Nov. 2000, p.190.
“Connoisseur’s world: Norman’s conquest” [on the architect Norman Foster’s renovation of the Great Court in the British Museum], Town & Country, New York, vol.154 no.5247, Dec. 2000, pp.167-174; reprinted as “Norman Foster, Battersea London 2000” in Interviews with artists, 1966-2012 (2012), pp.152-156.
“A designer’s passion for Provence: antiquing with Serge Robin in the South Of France” [on the interior designer’s choice of top antique shope, artists and craftsmen in Provence], Architectural Digest, Los Angeles, vol.57 no.12, Dec. 2000, pp.92-96, 102-104, 110.
Exhibition catalogues
”Raymond Mason” (parallel French-English text, translated from English by Jeanne Bouniort), in Raymond Mason, catalogue of an exhibition at Fondation Dina Vierny-Musée Maillol, Paris, 17 Feb. – 10 May 2000. Paris: Fondation Dina Vierny-Musée Maillol, 2000, pp.9-23; English text reprinted as “Raymond Mason confronts the torrent of life” in Artists’ lives (2023), pp.278-288.
Zoran Music; introduction and interviews with the artist by Michael Peppiatt, catalogue of an exhibition curated by MP at Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, 8 Feb. – 23 Apr. 2000; Estorick Collection of Modern Italian Art, London, 2 June – 17 Sept. 2000. Norwich: Sainsbury Centre for the Visual Arts, University of East Anglia, 2000; 69p., 51 illustrations (34 col.). (Contents: Foreword by Vincent Watts, p.7; Introduction, pp.9-15; “Interview 1, Paris, 1987”, pp.21-24; “Interview 2, Venice, 1995”, pp.31-35; “Interview 3, Paris, 1997-98”, pp.45-50; Selected exhibitions, pp.59-61; List of Works, pp.63-66); (two interviews, in French, had previously been published in Zoran Music: entretiens 1988-1998”, Paris: L’Échoppe, 2000, as “Deuxième entretien” & “Troisième entretien”, and in English translation in Zoran Music, catalogue of an exhibition curated by MP at Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, 2000, as “Interview 2, Venice, 1995” & “Interview 3, Paris, 1997-98”; reprinted as “Zoran Music, Saint-Germain-des-Près Paris 1999” in Interviews with artists, 1966-2012 (2012), pp.341-347; reprinted in “Zoran Music: interviews, 1988-1998” in Zoran Music:The Zurich Room: works and studio, catalogue of an exhibition at Palazzo Attems Petzenstein, Gorizia, 2026, pp.215-231.
”Introduction” [dated May 2000], in John Lessore: “French paintings”, catalogue of an exhibition at Ranger’s House, Blackheath, London, 9 June – 17 Sept. 2000. London: English Heritage, in association with Gillian Jason Modern & Contemporary Art, 2000, pp.4-5..
“Retratos de crianças = Children’s portraits” in Nins: retratos de crianças dos séculos XVI ao XIX: coleção Fundación Yannick y Ben Jakober = Portraits of children the XVI to XXth cenbtury: Fundación Yannick y Ben Jakober, catalogue of exhibition curated by MP at Museu de Arte Brasileira, São Paulo, 18 Oct. – 5 Dec. 2000; 139p., 40 col. illus.. São Paulo: Fundação Armando Alvares Penteado, 2000; pp.[16-22] (Portuguese text), [33-38] (English text).
2001
Periodicals
[text on Oscar Niemeyer], AD France, Paris, Jan. 2001; reprinted as “Oscar Niemeyer, Copacabana Rio de Janeiro 2000” in Interviews with artists, 1966-2012 (2012), pp.164-168.
“Bruges’s Romantik Pandhotel: an intimate haven in the medieval Belgian city” [on the hotel designed by Chris Vanhaecke], Architectural Digest, Los Angeles, vol.58 no.1, Jan. 2001, pp.94-100.
“Jacques Grange: spaces that resonate with the echoes of Emilio Terry and Madeleine Castaing” [on designers who influenced the Parisian interior desogner Jacques Grange], Architectural Digest, Los Angeles, vol.58 no.1, Jan. 2001, pp.158-162, 210.
“Muted grandeur in Manhattan: Deco touches and a pared-down aesthetic for an art-filled Park Avenue apartment” [on the apartment designed by Michael Rosenberg and Leonard Kowalski], Architectural Digest, Los Angeles, vol.58 no.2, Feb. 2001, pp.222-227.
“Professor Marvel at the Atheneum’ [review of Magician of the modern: Chick Austin and the transformation of the arts in America by Eugene R. Gaddis, Alfred A. Knopf, 2000], New York Times Book Review, New York, 25 Feb. 2001, p.22; reprinted as “Chick Austin: magician of the modern” in The making of modern art: selected writings (2020), pp.100-103.
“On the Right Bank: a bold mix of art and antiques for a Paris apartment” [on the apartment of antiques dealer Benjamin Steinitz], Architectural Digest, Los Angeles, vol.58 no.4, Apr. 2001, pp.236-241, 294.
“Man of fantasy: a memorial display [at the Royal Academy Summer Exhibition] will celebrate the achievements of the French painter Balthus. Michael Peppiatt on a twentieth-century iconoclast”, RA Magazine, London, no.71, Summer 2001, pp.44-45.
[Judging Giacometti], Town & Country, New York, Oct. 2001.
“The Rembrandt House’ [on the Rembrandt House Museum in Amsterdam, restored in 1906], Architectural Digest, Los Angeles, vol.58 no.10, Oct. 2001, pp.104-112.
“Les Anglais et leurs clubs”, Senso, Paris, Oct.-Nov. 2001.
“England’s Castle Drogo” [on Castle Drogo in Devon, built in 1911-1931 for Julius Drewe by Edwin Lutyens], Architectural Digest, Los Angeles, vol.58 no.11, Nov. 2001, pp.158-168.
“Period perfection: an ancient Marais town house is brought back to its heyday” [on its renovation by interior designer Christophe Gollut], Architectural Digest, Los Angeles, vol.58 no.12, Dec. 2001, pp.146-151, 198.
Exhibition catalogues
“Conversaciones con Zoran Music”, in Zoran Music Donación. Valencià: IVAM Institut Valencià d’Art Modern, 2001.
Zoran Music: œuvres de 1947 à 2001; textes de Jean Clair et Michael Peppiatt, catalogue of an exhibition titled Zoran Music: peintures et oeuvres sur papier de 1947 à 2001 at Galerie Jan Krugier, Ditesheim & Cie, Geneva, Oct. 2001 – Jan. 2002. Genève: Galerie Jan Krugier, Ditesheim & Cie, 2001. (Texts by MP: “Zoran Music”, pp.35-39 [French translation by Jeanne Bouniort]; “Zoran Music”, pp.59-63 [English text]; “Entretien, janvier 1995”, pp.77-81; “Entretien, 1997-1998”, pp.95-99 (the two interviews, in French, had previously been published in Zoran Music: entretiens 1988-1998”, Paris: L’Échoppe, 2000, as “Deuxième entretien” & “Troisième entretien”]; and in English translation in Zoran Music, catalogue of an exhibition curated by MP at Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, 2000, as “Interview 2, Venice, 1995” & “Interview 3, Paris, 1997-98”).
Alberto Giacometti in postwar Paris, [by] Michael Peppiatt, catalogue of an exhibition guest curated by MP at Sainsbury Centre for Visual Arts, Norwich, 2 Oct. – 9 Dec. 2001; Fondation de l’Hermitage, Lausanne, 1 Feb. – 12 May 2002. New Haven, CT; London: Yale University Press, in association with The Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 2001; xvi, 171p., 131 illus. (66 col.) (Texts by MP: Acknowledgements, p.ix; “Giacometti and the Sainsburys”, pp.xi-xvi; “Alberto Giacometti in postwar Paris”, pp.1-20; “Four texts by Giacometti”, pp.21-23 [introduction to texts translated from French by MP; the translated text “The dream, the sphinx and the death of T”, pp.29-36, reprinted in In Giacometti’s studio, Yale University Press 2010, pp.183-186], ); French edition, Alberto Giacometti dans le Paris d’après-guerre, catalogue of exhibition at Fondation de l’Hermitage, Lausanne, 2002. Lausanne: Fondation de l’Hermitage, 2002; 180p.
2002
Periodicals
“Natural habitat: fitting infusions of light and greenery for an English mansion” [on the design of Wentworth Park in Surrey by Marie-Luis Charmat], Architectural Digest, Los Angeles, vol.59 no.3, Mar. 2002, pp.168-173.
“Mr. Right Bank: Pursuing the works he knows and loves, Americanborn art dealer Waring Hopkins has won over Paris. No easy task”, Town & Country, New York, vol.156 no.5263, Apr. 2002, p.77.
“Museum of the 1930s” [on Musée des Années 30 in Boulogne-Billancourt], Architectural Digest, Los Angeles, vol.59 no.9, Sept. 2002, pp.158-162.
Exhibition catalogues
[“introduction” & interview with Dina Vierny] in Aristide Maillol, catalogue (parallel Spanish/French/English text) of an exhibition co-curated by Dina Vierny & MP at IVAM Institut Valencià d’Art Modern, 15 Feb. – 19 Mar. 2002; 169p., 108 illus. (81 col.). Valencia: IVAM Institut Valencià d’Art Modern, 2002. (Texts by MP: “Introducción = Introduction = Introduction”, pp.38-43 [English text reprinted as “Maillol: the silent revolution” in The making of modern art: selected writings (2020)], pp.13-24; “Entrevista con Dina Vierny = Entretien avec Dina Vierny = Interview with Dina Vierny”, pp.26-40).
“Christian Schad: Portraits der zwanziger Jahre” [translated by Matthias Wolf], in Christian Schad: Christian Schad: Das Frühwerk 1915-1935: Gemälde, Zeichnungen, Schadographien; Herausgegeben von Jill Lloyd und Michael Peppiatt, mit Texten von Dina Vierny, Jill Lloyd, Michael Peppiatt und Nikolaus Schad, catalogue of an exhibition at Fondation Dina Vierny-Musée Maillol, Paris, 6 Nov. 2002 – 14 Feb. 2003; Neue Galerie, New York, 19 Mar. – 9 June 2003. München: Schirmer/Mosel, 2002, 200p., 188 illus. (87 col.); pp.33-42; English edition: “Christian Schad: Portraits of the 1920s”, in Christian Schad and the Neue Sachlichkeit, edited by Jill Lloyd and Michael Peppiatt, catalogue of an exhibition guest co-curated by Jill Lloyd & MP at Neue Galerie, New York, 19 Mar. – 9 June 2003,. New York: Neue Galerie, 2003; 260p., 247 illus. (83 col.); pp.43-50; reprinted as “Christian Schad’s portraits of the 1920s” in Artists’ lives (2023), pp.84-95.
Audiovisual
[In Giacometti’s studio], a lecture, 2002.
2003
Books
“Responses by Raymond Mason to questions by Michael Peppiatt”, in At work in Paris: Raymond Mason on art and artists. London: Thames & Hudson, 2003, pp.157-167; previously published in Raymond Mason: Coloured sculptures, bronzes and drawings 1952-1982, catalogue of an exhibition at Serpentine Gallery, London, 1982-1983, & Museum of Modern Art, Oxford, 1983, London: Arts Council of Great Britain, 1982, pp.12-16; French translation published as ‘Raymond Mason, Michael Peppiatt, Entretien” in Raymond Mason, catalogue of exhibition at Musée National d’Art Moderne, Centre Georges Pompidou, Paris, 1985, & Musée Cantini, Marseille, 1985-1986, pp.60-64.
Dans l’atelier de Giacometti; traduit de l’anglais par Jeanne Bouniort. Paris, L’Échoppe, 2003, 45p; Spanish version published as El el taller de Giacometti; traducción de Clara Pastor. Barcelona: Elba (series: ‘El taller de Elba’, 3), 2010, 48p., illus.; published in English as “In Giacometti’s studio” in The making of modern art: selected writings.(2020), pp.126-138 (“This text began life as a lecture given at the opening of ‘Alberto Giacometti in Postwar Paris’, Sainsbury’s Centre for Visual Arts, Norwich, 2 October – 9 December 2000 [sic – in fact 2001]. It then came out as a slender volume in French, Dans l’atelier de Giacometti, trans. Jeanne Bouniort, Paris: L’Échoppe, 2003, before being considerably expanded into a book, In Giacometti’s Studio, New Haven, CT and London: Yale University Press, 2010. This is an intermediate version.” – p.252).
“Vincent van Gogh: ombres et lumières’, in Jeanne Bouniort, Michael Peppiatt, Vincent van Gogh. Paris: SCEREN-CNDP [Centre national de documentation pédagogique], 2003, “Actualité des Arts Plastiques” collection; original English version published as “Vincent Van Gogh: between shadow and the sun” in Artists’ lives (2023), pp.20-35.
Periodicals
“Plaza Athenée renewed” [on the renovation of the Plaza Athenée hotel on avenue Montaigne in Paris], Architectural Digest, Los Angeles, vol.60 no.3, Mar. 2003, pp.70-75.
“Hôtel Royal: the legendary spa in Evian-les-Bains is rejuvenated” [on the redesign of Hôtel Royal by interior designer Patrick Ribes], Architectural Digest, Los Angeles, vol.60 no.4, Apr. 2003, pp.174-177.
“One man’s passion: Philippe De Backer opens his doors to an inspired collection of Ming furniture” [on the minimalist interior of Phillipe de Backer’s farmhouse], Architectural Digest, Los Angeles, vol.60 no.5, May 2003, pp.204-206.
Exhibition catalogues
“The fire under the ashes: Michael Peppiatt talks to Jan Krugier = Le feu sous la cendre: Dialogue entre Jan Krugier et Michael Peppiatt” (parallel English/French text), in Jean-Michel Basquiat, Gaston Chaissac, Jean Dubuffet, Joaquin Torres-Garcia, catalogue of an exhibition organised by Jan Krugier Gallery, New York, & Galerie Enrico Navarra, Paris, at Basel Art Fair, travelling to Jan Krugier Gallery, New York, 2003, & Galerie Enrico Navarra, Paris, 2003. New York: Jan Krugier Gallery; Paris: Galerie Enrico Navarra, 2003, pp.8-15; reprinted as “Fire under the ashes: an interview with Jan Krugier”” in The making of modern art: selected writings (2020), pp.118-123.
“Bacon’s eyes”, in Francis Bacon and the tradition of art; edited by Wilfried Seipel, Barbara Steffen, Christoph Vitali, catalogue of an exhibition titled Francis Bacon und die Bildtradition at Kunsthistorisches Museum Wien, Vienna, 15 Oct. 2003 – 18 Jan. 2004, & Fondation Beyeler, Riehen/Basel, 8 Feb. – 20 June 2024. Wien: Kunsthistorisches Museum Wien; Riehen/Basel: Fondation Beyeler; Milano: Skira editore, 2003; pp.105-111; German translation of text published as “Die Augen Bacon” in German-language edition of catalogue, Francis Bacon und die Bildtradition, Wien: Kunsthistorisches Museum Wien; Riehen/Basel: Fondation Beyeler; Milano: Skira editore, 2004, pp.105-111; reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.238-253.
Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue (parallel Spanish/English/Valencian text) of an exhibition curated by MP at IVAM Institut Valencià d’Art Modern, 11 Dec. 2003 – 21 Mar. 2004 [travelling to Fondation Dina Vierny-Musée Maillol, Paris, 7 Apr. – 30 June 2004 see French catalogue]. Valencià: IVAM Institut Valencia d’Art Modern, 2003; 288p., 166 illustrations (129 col.). (Texts by MP: “Francis Bacon: the sacred and the profane = Francis Bacon: Lo sagrado y lo profano”, pp.32-55 [Valencian text “Francis Bacon: allò sagrat i allò profà”, pp.243-250] [adapted from lecture delivered at Kunsthistrorisches Museum, Vienna, in 2003; English text reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.96-117]; “Portrait of the artist at work = Retrato del artista trahajando”, pp.148-169 [Valencian text “Retrat del artista treballant”, pp.263-269] [“a revised and enlarged version of the essay” published in French as “Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-57; previously published as “Francis Bacon: The anatomy of an enigma”, Art International, Sept.-Nov. 1984, pp.4-18]; “Three interviews with Francis Bacon = Tres entrevistas con Francis Bacon”, pp.182-199 [Valencian text “Tres entrevistas amb Francis Bacon”, pp.275-280] [reprints interviews originally published in Cambridge Opinion, 1964 – pp.186-188; Art International, Autumn 1987 – pp.188-192; Art International, Autumn 1989 – pp.192-199]; “Francis Bacon: chronology = Francis Bacon: cronología”, pp.202-213 [Valencian text “Francis Bacon cronologia”, pp.281-284]). French/English version, Francis Bacon: le sacré et le profane, Paris: Fondation Dina Vierny-Musée Maillol, 2004; text adapted for a lecture at the Kunsthistorisches Museum in Vienna on the occasion of the exhibition Francis Bacon and the tradition of art, 2003, published in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.96-117.
Audiovisual
“The sacred and the profane”, [lecture delivered at Kunsthistorisches Museum, Vienna, in 2003, subsequently adapted as “Francis Bacon: the sacred and the profane = Francis Bacon: Lo sagrado y lo profano” = “Francis Bacon: allò sagrat i allò profà”, in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition at IVAM Institut Valencià d’Art Modern, 2003-2004, pp.32-55, 243-250; French translation published as “Francis Bacon: le sacré et le profane” in Francis Bacon: le sacré et le profane, catalogue of an exhibition at Fondation Dina Vierny – Musée Maillol, Paris, 2004, pp.11-26; English text reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.96-117.
2004
Books
Le regard de Bacon; traduit de l’anglais par Patrice Cotensin. Paris, L’Échoppe, 2004, 27p..
Rencontre avec Pierre Soulages. Paris, L’Échoppe, 2004, 24p.; previously published with English translation as “An interview with Pierre Soulages = Entretien avec Pierre Soulages”, Art International, Nov.-Dec. 1980, pp.157-166, 167-173.
Periodicals
“Styleworthy Il Cigno: a luxury yacht’s streamlined redesign emphasizes comfort and utility” [on its interior redesign by Jonathan Reed], Architectural Digest, Los Angeles, vol.61 no.2, Feb. 2004, pp.162-167.
“For the love of plastic: Philippe Decelle grooves on the radical furnishings of the 1960s” [on Philippe Decelle’s collection of plastic furniture], Architectural Digest, Los Angeles, vo.61 no.5, May 2004, pp.198-202.
“Isabelle Higgins: an American designer rescues a ruin in Southwest France” [on the renovation and design of a ruined chateau in Armagnac], Architectural Digest, Los Angeles, vol.61 no.9, Sept. 2004, pp.224-231.
“The art of the deal: Joseph Duveen specialized in old-master paintings and rich American clients” [review of Duveen: a life in art by Meryle Secrest, Alfred A. Knopf, 2004], The New York Times Book Review, New York, 19 Sept. 2004, p.13; reprinted as “Joseph Duveen, manipulator extraordinaire” in The making of modern art: selected writings.(2020), pp.92-96.
“Mackintosh’s last hurrah: meticulously restored, a remarkable English interior by the architect lives again” [on the restoration of Derngate, designed by Charles Rennie Mackintosh], Architectural Digest, Los Angeles, vol.61 no.11, Nov. 2004, pp.163-168.
“Yves Saint Laurent: the designer transforms his Paris couture house into a museum with partner Pierre Bergé” [on the design of the Pierre Berge-Yves Saint Laurent Foundation], Architectural Digest, Los Angeles, vol.61 no.12, Dec. 2004, pp.208-211.
Exhibition catalogues
“A alma guiada pelas mãos: una entrevista com Antoni Tàpies = The soul guided by the hand: an interview with Antoni Tàpies”, in Antoni Tàpies, catalogue of an exhibition at Centro Cultural Banco do Brasil, São Paulo, Oct. 2004 – Jan. 2005, travelling to Centro Cultural Banco do Brasil, Rio de Janeiro, Jan. – Apr. 2005, & Centro Cultural Banco do Brasil, Brasilia, Apr. – June 2025. São Paulo: Centro Cultural Banco do Brasil, 2004, pp.21-26 (Portuguese text), 27-32 (English text); previously published (without introduction dated Sept. 2004) in Art International, Paris, Winter 1990; reprinted (with introduction) as “Antoni Tàpies, El Putxet, Barcelona 1990” in Interviews with artists, 1966-2012 (2012), pp.370-377.
Francis Bacon: le sacré et le profane, [par] Michael Peppiatt, catalogue of an exhibition at Fondation Dina Vierny-Musée Maillol, Paris, 7 Apr. – 30 June 2004 [previously at IVAM Institut Valencià d’Art Modern, 11 Dec. 2003 – 21 Mar. 2004 – see Spanish catalogue]. Paris: Fondation Dina Vierny – Musée Maillol, 2004, 160, XXIVp., 77 illustrations. (58 col.). (Texts by MP: “Francis Bacon: le sacré et le profane” [translated by Jeanne Bouniort], pp.11-26 [adapted from lecture delivered at Kunsthistorisches Museum, Vienna, in 2003; English text reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.96-117]; “Portrait de l’artiste au travail’, pp.30-40 [“a revised and enlarged version of the essay” published in French as “Les rêves décomposés de Francis Bacon”, Connaissance des Arts, Paris, no.351, May 1981, pp.48-57; previously published as “Francis Bacon: The anatomy of an enigma”, Art International, Sept.-Nov. 1984, pp.4-18; translated by Patrice Cotensin, previously published as Francis Bacon à l’atelier Paris: L’Échoppe, 1999]; “Trois entretiens avec Francis Bacon”, pp.43-51 [translated by Patrice Cotensin; French translation originally published as Entretiens avec Francis Bacon, 1963-89, L’Échoppe, Paris, 1998]; ”Francis Bacon: the sacred and the profane”, pp.I-IX; “Portrait of the artist at work”, pp.X-XVII; “Three interviews with Francis Bacon”, pp.XVIII-XXIV).
“Michael Peppiatt – Sean Scully” [interview in French and English, translated from English by Jeanne Bouniort] in Sean Scully: Winter robe, catalogue of an exhibition at Galerie Lelong, Paris, 13 May – 10 July 2004. Paris: Galerie Lelong, 2004, pp.9-21; English text reprinted as “Sean Scully, Bavaria 2004” in Interviews with artists, 1966-2012 (2012), pp.378-392.
Audiovisual
[Participation in] L’exposition Francis Bacon au Musée Maillol: Un film de Christian Guyonnet (45’), on Francis Bacon: Le sacré et le profane, DVD published by Artstudio / Naïve Vision, 2004, in series “Collection DVD du Musée Maillol”, on the occasion of exhibition at Fondation Dina Vierny-Musée Maillol, Paris, 2004; includes brief text by MP on back cover (parallel French/English text).
“In memoriam: Antoni Tápies” [lecture delivered at the exhibition Tápies at Centro Cultural Banco do Brasil, São Paulo, in October 2004; the revised text published in the catalogue of the artist’s exhibition in Catanzaro, Calabria, 2009], reprinted in Artists’ lives (2023), pp.211-221.
2005
Periodicals
“The art of inspiration: Claes Oldenburg & Coosje Van Bruggen engage the unexpected in the Loire Vallery [on their home, the Château de la Borde, Architectural Digest, Los Angeles, vol.62 no.4, Apr. 2005, pp.184-189.
“The nonconformists: a couple and their architect eschew the norm in London” [on the architectural and interior design of a London home by Annabelle Selldorf], Architectural Digest, Los Angeles, vol.62 no.4, Apr. 2005, pp.208-213.
“Bacon/Picasso, Paris” [review of exhibition Bacon/Picasso: La vie des images at the Musée Picasso, Paris, 2005], The Burlington Magazine, vol.147 no.1226 (May 2005), pp.345-346; reprinted as “Bacon and Picasso” in Francis Bacon: studies for a portrait: essays and interviews (revised edition, 2021), pp.44-48.
“Trésors d’Hermès: a unique private collection above the Paris boutique enchants and inspires” [on the collection of the design store Hermès], Architectural Digest, Los Angeles, vol.62 no.9, Sept. 2005, pp.138-146.
“Timothy Corrigan: a fresh start for France’s Château de Gallerande” [on his restoration of the Château in an eclectic mixture of styles], Architectural Digest, Los Angeles, vol.62 no.9, Sept. 2005, pp.250-255.
[Mark Rothko’s voice], Architectural Digest, Los Angeles, Oct. 2005.
2006
Books
L’amitié Leiris Bacon: une étrange fascination, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 2006; 87p., 1 illustration as frontispiece; original English version published as “A strange fascination: The friendship between Michel Leiris and Francis Bacon” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.198-237; paperback German-language edition, Francis Bacon – Michel Leiris: eine Freundschaft; aus dem Englischen von Kay Heymer. Bern: Piet Meyer Verlag (series: “NichtSoKleinebibliothek”, 1), 2009, 106p., 10 illus. (7 col.); hardback publ. by Piet Meyer Verlag, Bern, Wien , 2016.
“Préface”, in Jean Dubuffet, James Fitzsimmons, Correspondance 1956-1964, Édition ętablie par Patrice Cotensin et Sophie Webel, Préface de Michael Peppiatt. Paris: L’Échoppe, 2006, pp.7-27; English version published as “Jean Dubuffet: Letters to an editor” in The making of modern art: selected writings (2020), pp.151-162.
Les dilemmes de Jean Dubuffet: entretien [translated by Patrice Cotensin]. Paris, L’Échoppe, 2006; 23p.; originally published in English in Art News, New York, May 1977, pp.68-70; reprinted with “Avant-propos” dated 2006, pp.7-8..
L’École de Londres; traduit de l’anglais par Pierre Cotensin. Paris, L’Échoppe, 2006, 64p.; original version published as “Is there a School of London?” in A School of London: six figurative painters, catalogue of an exhibition organised by the British Council, in Kunstnernes Hus, Oslo, & travelling, 1987-1988.pp.7-13; revised version published as “Could there be a School of London?”, Art International, Autumn 1987, pp.7-21.
Bacon. Madrid: Biblioteca El Mundo, 2006.
Periodicals
“Francis Bacon’s studio” [review of book Francis Bacon’s studio by Margarita Cappock, 2005], The Burlington Magazine, vol.148 no.1240 (July 2006), p.495.
“Finding a niche on Cavallo: off the coast of Corsica, a sculpted residence is an extension of the landscape” [on a house designed by Savin Couelle], Architectural Digest, Los Angeles, vol.63 no.10, Oct. 2006, pp.266-271.
“Four Seasons Hampshire: in the English countryside near London, a Georgian manor house is restored with an eye to classic style and modern comforts” [on the architecture and interior design of Dogmersfield Park, restored by HWO Architects forFour Season Hotels and Resorts], Architectural Digest, Los Angeles, vol.63 no.11, Nov. 2006, p.138-144.
“Portrait of a house: light guides a redesign for an artist in England” [on Richard Stone’s house in West Bergholt, Essex], Architectural Digest, Los Angeles, vol.63 no.11, Nov. 2006, pp.236-242, 262.
Exhibition catalogues
“Francis Bacon’s portraits and self-portraits: “All the pulsations of a person”, on the occasion of the sale of Francis Bacon’s ‘Three Studies for a Self-Portrait’, 1980, in the Christie’s, London, auction Post-War and Contemporary Art: Evening Sale, 22 June 2006. London: Christie’s, 2006; pp.100-101;;reprinted as “‘All the pulsations of a person: Francis Bacon’s portraits and self-portraits” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.178-187.
“In search of Miss Beston”, in The collection of the late Miss Valerie Beston: Artists from the London School, catalogue of an auction at Christie’s London on 8 &10 Feb. 2006 (viewing 3-10 Feb. 2006). London: Christie’s, 2006, pp.8-14; reprinted as “Mr. Bacon and Miss Beston” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.166-177.
“Maurice Estève, 1904-2001”, in Maurice Estève, 1904-2001: Paintings, watercolours, drawings, monotypes; Introduction by Michael Peppiatt, catalogue of an exhibition at Redfern Gallery, London, 14 June – 14 July 2006. London: Redfern Gallery, 2006, pp.3-4.
Francis Bacon in the 1950s [by] Michael Peppiatt, catalogue of an exhibition guest curated by MP at the Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, 26 Sept. – 10 Dec. 2006; the exhibition retitled Francis Bacon: paintings in the 1950s, travelling to the Milwaukee Art Museum, 29 Jan. – 15 Apr. 2007; Albright-Knox Art Gallery, Buffalo, NY, 5 May – 30 July 2007. New Haven, CT; London: Yale University Press; Norwich: Sainsbury Centre for the Visual Arts, University of East Anglia, 2006; xi, 200p., 95 illustrations (74 col.). (Contents: “Foreword” by Nicola Johnson, pp.vii-viii; “Introduction and Acknowledgements” by MP, pp.ix-x; “Bacon eyes”, pp,3-11; “Francis Bacon in the 1950s”, pp,13-67; colour plates, pp.71-137; Bacon’s letters to the Hanover Gallery, pp.140-153; Bacon’s letters to Robert and Lisa Sainsbury, pp.154-159; Chronology, pp.163-174; Bibliography, pp.175-195; Photograph credits, p.196; Index, pp.197-200); revised version of text “Francis Bacon in the 1950s” published in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.46-95.
2007
Periodicals
“Capturing the silent scream: At Christie’s today, one of Francis Bacon’s Pope series is expected to sell for £12 million. His biographer Michael Peppiatt assesses these unsettling paintings”, Country Life, London, vol.201 no.6, 8 Feb. 2007, pp.82-84; reprinted as “An obsession with Popes” in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.42-45..
“Anything but ordinary” [on the California-based architect Ron Mann’s redesign of a penthouse by the Thames in London], Architectural Digest, Los Angeles, vol.64 no.5, May 2007, pp.208-215.
“Guided by nature: on the coast of Sardinia, a new house narrows the dividde between landscape and architecture” [on the house designed by architect Savin Couëlle], Architectural Digest, Los Angeles, vol.64 no.8, Aug. 2007, pp.156-162.
“Juan Montoya: the designer thinks big in his diminutive flat on Paris’s rue Jacob”, Architectural Digest, Los Angeles, vol.64 no.9, Sept. 2007, pp.102-110.
“A noble vision at Chatsworth: the Duke and Duchess of Devonshire revive the splendour of their State Rooms”, Architectural Digest, Los Angeles, vol.64 no.11, Nov. 2007, pp.192-201.
“Living the dream in Paris: on the Right Bank, a Californian creates a sumptuous getaway” [on its interior design by Timothy Corrigan], Architectural Digest, Los Angeles, vol.64 no.12, Dec. 2007, pp.217-221, 264.
Exhibition catalogues
“The legacy of genius: Van Gogh and Francis Bacon”, in Vincent van Gogh and Expressionism, edited by Jill Lloyd and Michael Peppiatt; with contributions by Patrick Bridgewater … [et al.], catalogue of an exhibition at Neue Galerie, New York, 23 Mar. – 2 July 2007 [previously at Van Gogh Museum, Amsterdam, 24 Nov. 2006 – 4 Mar. 2007]. Ostfildern: Hatje Cantz Verlag, 2007; 180p., 148 illus. (133 col.); pp.63-74; reprinted in Francis Bacon: studies for a portrait: essays and interviews (2008), pp.150-165; German translation published as “Vermächtnis eines Genies: Van Gogh und Francis Bacon” in Gespräche in der Nacht: Francis Bacon über seine Arbeit, Piet Meyer Verlag, Bern 2011, pp.63-74; original English text reprinted as “The legacy of genius: Van Gogh and Bacon” in Artists’ lives (2023), pp.227-242.
Audiovisual
[participated in] Centurions: Francis Bacon – Innocent Screams on BBC Radio 7, 18 Oct. 2007, repeated on 20 Sept. 2020, discussing the impact of Francis Bacon 1953 study after Velaźquez’s ‘Portrait of Innocent X’, with Richard Cork & Margaret Walters.
2008
Books
Francis Bacon: anatomy of an enigma. London: Constable, 2008; xxiii, 456p., [16]p. of black & white plates, (new paperback edition of book originally published in 1996: “Revised and updated, contains confidential new material” – front cover). (Contents: Acknowledgements: p.xi; Preface [to the new edition], pp.xiii-xxiii; text, pp.1-418; Notes, pp.419-443; Selected bibliography, pp.444-448; Index, pp.449-456). American edition published in 2009 by Skyhorse Publishing, New York. French edition, Francis Bacon: anatomie d’une énigme; traduit de l’anglais par Jeanne Bouniart. Paris: Flammarion (series: Grandes biographies”), 2019; 395p., 7 illustrations.
Francis Bacon: studies for a portrait: essays and interviews. New Haven, CT; London : Yale University Press, 2008; vii, 272p., [16]p. plates, 16 black & white illustrations in the text (Contents: Acknowledgements, pp.vi-vii; Introduction, pp.1-7; “Interviewing Francis Bacon”, pp.8-13; “Interview one: from a conversatin with Francis Bacon”, pp.,14-17 [previously published in Cambridge Opinion, Jan. 1964, as “From a conversation with Francis Bacon”, pp.48-49]; “Francis Bacon at work”, pp.18-41 [previously published as “Francis Bacon: The anatomy of an enigma” , Art International, Sept.-Nov. 1984, pp.4-18; “a revised and enlarged version of the essay published in Connaissance des Arts, May 1982” – p.18]; “An obsession with popes”, pp.41-45 [previously published as “Capturing the silent scream : At Christie’s today, one of Francis Bacon’s Pope series is expected to sell for £12 million. His biographer Michael Peppiatt assesses these unsettling paintings”, Country Life, 8 Feb. 2007, pp.82-84]; “Francis Bacon in the 1950s”, pp.46-95 [revised version of text previously published in Francis Bacon in the 1950s [by] Michael Peppiatt, catalogue of an exhibition at the Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, & travelling, 2006-2007, pp,13-67]; “The sacred and the profane”, pp.96-117 [previously delivered as lecture at Kunsthistorisches Museum, Vienna, in 2003; subsequently adapted as “Francis Bacon: the sacred and the profane” in Francis Bacon: lo sagrado y lo profano = the sacred and the profane, catalogue of an exhibition at IVAM Institut Valencià d’Art Modern, 2003, pp.32-55; as “Francis Bacon: le sacré et le profane” in Francis Bacon: le sacré et le profane, catalogue of an exhibition at Fondation Dina Vierny-Musée Maillol, Paris, 2004, pp.11-26]; “Francis Bacon and the School of London”, pp.118-141 [previously published as “A School of London” in A School of London: six figurative painters,, catalogue of an exhibition organised by the British Council, at Kunstnernes Hus, Oslo, & travelling, 1987-1988, pp.7-13; revised version published as “Could there be a School of London?”, Art International, Paris, pp.7-21]; “Interview two: reality conveyed by a lie”, pp.142-149 [“Some of the asides that occur here – particularly Bacon’s disparaging remarks about Matisse – were cut from the original version because they were not central to the main theme and because I knew that Bacon might object, after the event, that they had been ‘off the record’.” – p.143; previously published as “Francis Bacon: Reality conveyed by a lie” in Art International, Autumn 1987, pp.30-33]; “The legacy of genius: Van Gogh and Francis Bacon”, pp.150-165 [previously published in Vincent van Gogh and Expressionism, catalogue of an exhibition at Neue Galerie, New York, 2007 pp.63-74; reprinted in Artists’ lives (2023), pp.227-242.]; “Mr. Bacon and Miss Beston”, pp.166-177 [previously published as “In search of Miss Beston”, in The collection of the late Miss Valerie Beston: Artists from the London School, catalogue of an auction at Christie’s London on 8 &10 Feb. 2006, pp.8-14]; “‘All the pulsations of a person’: Francis Bacon’s portraits and self-portraits”, pp.178-187 [previousl published as “Francis Bacon’s portraits ans self-portraits: ‘All the pulsations of a person’” on the occasion of the sale of Francis Bacon’s ‘Three Studies for a Self-Portrait’, 1980, at Chrsitie’s, London, sale Post-War and Contemporary Art: Evening Sale, 22 June 2006, pp.100-101; “Although it focused on Bacon’s portraiture as a whole, the essay contained several references to this small triptych; they have been omitted in the revised version below.” – p.179]; “Interview three: provoking accidents, prompting chance”, pp.188-197 [previously published as “An interview with Francis Bacon: Provoking accidents, prompting chance” Art International, Paris, Autumn 1989, pp.28-32; “The following interview was recorded in Francis Bacon’s studio at the beginning of 1989 and was published later that year in the magazine Art International. When I listened to the tape again, I realised I had left out a number of exchanges – about Versailles, about Shakespeare – that had not seemed particularly relevant then. I have put these and other asides into this revised version because they give a more complete idea of the way the conversation ranged”. – p.189]; “A strange fascination: the friendship between Michel and Francis Bacon”, pp.198-237 [previously published in French version as L’amitié Leiris Bacon: une étrange fascination, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 2006]; “Bacon’s eyes”, pp.238-253 [previously published in in Francis Bacon and the tradition of art, catalogue of an exhibition titled Francis Bacon und die Bildtradition at Kunsthistorisches Museum Wien, Vienna, & travelling, 2003-2004, pp.105-111, but referred to as previously unpublished]; Chronology, pp.254-266; Index pp.267-272) (German edition of part of the text publ. as Gespräche in der Nacht: Francis Bacon über seine Arbeit Bern: Piet Meyer Verlag (series: “KapitaleBibliothek”, 3), 2011; revised & updated paperback edition of English text publ. in 2021 by Thames and Hudson).
Periodicals
“Dreaming on the Côte d’Azur” [on the redesign of the Villa Corine by Nicholas Haslam of NH Design and landscape architect Jean Mus, restoring it to its state in the 1930s, for Konstantin and Natasha Kagalovsky], Architectural Digest, Los Angeles, vol.65 no.3, Mar. 2008, pp.210-217.
“Redesign for Belgravia: in the heart of London, an 1835 residence is elegantly updated for a young family” [on a residence redesigned by interior designer Grant White], Architectural Digest, Los Angeles, Apr. 2008, pp.228-234.
“Rooms to remember: evoking the feel of an Hôtel Particulier at a Christie’s auction of antiques and art” [on installation designed by Juan Pablo Molyneux displaying furnishings from antiques dealers Bernard and Benjamin Steinitz’s warehouse for their Christie’s auction of antiques and art in Paris], Architectural Digest, Los Angeles, vol.65 no.5, May 2008, pp.98-102.
“Oasis of simplicity: urilizing native materials, a whitewashed house on the Arabian Sea summons exotic tales” [on the architectural and interior design of a house owned and designed by Samiya Al-Harthy Sheridan in Oman], Architectural Digest, Los Angeles, vol.65 no. 8, Aug. 2008, pp.110-117.
[contribution to] “The many faces of Bacon: as Tate Britain pays tribute to Francis Bacon, his friends and rivals tell Joanna Pitman about the artist they knew”, The Times, London, 30 Aug. 2008, p.26.
“Jaime Parlade: distilling the Spanish country house ideal at Alcuzcuz in Andalusia” [on the renovation of the historic home of Jaime and Janetta Parlade, Marques and Marquesa of Apezteguia], Architectural Digest, Los Angeles, vol.65 no.9, Sept. 2008, pp.198-205.
“Portrait of a paradox: Bacon was both cruel and incredibly kind, says biographer Michael Peppiatt” [on the occasion of publication of revised edition of Francis Bacon: anatomy of an enigma], The Sunday Times, London, no.9602, 14 Sept. 2008, pp.8-9; reprinted as “The paradox of Francis Bacon” in Artists’ lives (2023), pp.222-226.
“Mykonos, distilled: the island’s vernacular architecture anchors an elegant dwelling” [on a villa designed by Javier Barba], Architectural Digest, Los Angeles, vol.65 no.10, Oct. 2008, pp.226-233.
“Kauri Cliffs and The Farm at Cape Kidnappers: a couple’s private cottages at their North Island properties offer a unique experience” [on the hotel in New Zealand, designed by architect Lawrence Sumich and designer Virginia Fisher], Architectural Digest, Los Angeles, vol.65 no.12, Dec. 2008, pp.186-191.
Exhibition catalogues
“The line of reality: a conversation between Paul Simonon and Michael Peppiatt”, in Paul Simonon: recent paintings, catalogue of an exhibition at Thomas Williams Fine Art, London, 17 Apr. – 9 May 2008. London: Thomas Williams Fine Art, 2008, pp.[4-7]; reprinted as “Paul Simonon, Paddington London 2008” in Interviews with artists, 1966-2012 (2012), pp.110-118.
“Tony Bevan in conversation with Michael Peppiatt”, in Tony Bevan: new paintings, catalogue of an exhibition at Ben Brown Fine Arts, 25 Sept. – 5 Nov. 2008. London: Ben Brown Fine Arts, 2008, pp.35-40; reprinted as “Tony Bevan, Deptford London 2008” in Interviews with artists, 1966-2012 (2012), pp.76-89; reprinted as “Tony Bevan in conversation with Michael Peppiatt, London, 2008” in Painting heads: Frank Auerbach, Tony Bevan; with an introduction and four interviews by Michael Peppiatt, catalogue of exhibition curated by MP, titled ‘Frank Auerbach / Tony Bevan: What is a head?’ at Ben Brown Fine Arts, London, 2020-2021, Ben Brown Fine Arts, Hong Kong, 2021, pp.69-77.
“Introduction” in Bill Jacklin: People & places II: paintings & monotypes, catalogue of an exhibition at Marlborough Fine Art, London, 3 Dec. 2008 – 9 Jan. 2009. London: Marlborough Fine Art, 2008, pp.5-6.
Audiovisual
[participated in] Sunday Feature: Broken Images on BBC Radio 3, 14 Sept. 2008, repeated on 17 May 2009, on Francis Bacon, presented by Lousa Buck, with Chris Stephens, John Maybury, Colm Tóibín & Sarah Kent.
2009
Books
“The Francis Bacon interiors: Michael Peppiatt in conversation with Robert Priseman” [“This conversation was recorded in London on 27th June 2008.” – p.15], in The Francis Bacon interiors: Michael Peppiatt in conversation with Robert Priseman. Uppingham (Rutland): Goldmark Gallery, 2009; pp.3-15. Reprinted as The Francis Bacon interiors: Michael Peppiatt in conversation with Robert Priseman, with an introduction by Robert Hall & afterword by Ann Marie Boyle; published on the occasion of an exhibition at Huddersfield Art Gallery, [5 Sept. – 7 Nov.] 2009. [Town?]: Seabrook Press, [2009], pp.9-29; reprinted as “Robert Priseman, Holland Park London 2008” in Interviews with artists, 1966-2012 (2012), pp.120-138.
A still life is a theatre: Susan Wilson in conversation with Michael Peppiatt [“This interview was recorded in London in December 2008” – p.[25]), published on the occasion of exhibition at Browse & Darby, London, Mar. – Apr. 2009. London: Browse and Darby, 2009; [32] p., 23 col. illus. (Text of inteview by MP: pp.[3-25]).
Periodicals
“Lessons in restraint” [on the redesign of a townhouse in Holland Park in London by Nick Candy and Christian Candy, with Art Deco and Asian touches, suitable for both family events and for entertaining business clients], Architectural Digest, Los Angeles, vol.66 no.3, Apr. 2009, pp.120-127.
“Family dynamics” [on the Colombian-born designer Juan Montoya and the house he designed for his mother], Architectural Digest, Los Angeles, vol.66 no.4, Apr. 2009, pp.36-40.
“Bulgari at 125: the venerable Roman firm marks an anniversary and stays true to its roots” [Architectural Digest, Los Angeles, vol.66 no.8, Aug. 2009, pp.36-41.
“Marta and Oscar Fisch: a New York couple meet their match in a 400-year-old Tuscan farmhouse”, Architectural Digest, Los Angeles, vol.66 no.9, Sept. 2009, pp.80-82, 88.
“The view from the top” [on the penthouse owned by interior designers Nick Candy & Christian Candy in Monte Carlo], Architectural Digest, Los Angeles, vol.66 no.11, Nov. 2009, pp.148-155.
Exhibition catalogues
A portrait of Antoni Tàpies, catalogue of an exhibition at Museo MARCA, Catanzaro, 2009. Catanzaro: Museo MARCA, 2009.
“Dado: The Zorzi Elegies = Dado: Les Élégies de Zorzi = Dado: Zorzi Elegie” (translated into French by Jeanne Bouniort), in Dado: The Zorzi Elegies, catalogue of exhibition, curated by MP, in Pavilion of Montenegro at the 53rd Biennale di Venezia, 2009. [Podgorica]: Ministarstvo kulture, sporta i medija, 2009, pp.7-18 (English text), 21-31 (French text), 7-18 (Montenegrin text); reprinted as “Dado and the atrocity of everyday life” in Artists’ lives (2023), pp.198-210.
[Dans l’atelier de Giacometti], in Les Giacometti: Giovanni, Alberto, Diego, exhibition at Fondation pour l’écrit, Geneva, 2009. Geneva: Fondation pour l’écrit, 2009.
“Michael Peppiatt in conversation with Hughie O’Donoghue” [interview recorded in June 2009], in Hughie O’Donoghue: The journey, catalogue of an exhibition at Leeds Art Gallery, 11 Sept. – 15 Nov. 2009. Leeds: Leeds Museums and Galleries, 2009, pp.15-24; reprinted as “Hughie O’Donoghue, Greenwich London 2009” in Interviews with artists, 1966-2012 (2012),, pp.90-109.
Caravaggio – Bacon, a cura di = edited by Anna Coliva, Michael Peppiatt (parallel Italian/English text, translated by Edward Steinberg), catalogue of an exhibition at Galleria Borghese, Rome, 2 Oct. 2009 – 24 Jan. 2010. Rome: Federico Motta Editore, 2009; 223p., 77 col. illus. (Texts by MP: “Il sacro e il profano = The sacred and the profane”, pp.25-43; [entries for 16 works by Francis Bacon in the exhibition], pp.182-212.)
“Arístides Maillol y el conde rojo” [translated into Spanish by Marta Pérez], in Maillol, catalogue of an exhibition co-curated by Bertrand Lorquin & MP at Sala de exposiciones de Caixi Catalunya, Barcelona, 19 Oct. 2009 – 31 Jan. 2010. Barcelona: Caix Catalunya, 2009, pp.64-75; original English text published as “Aristide Maillol and the Red Count” in Artists’ lives (2023), pp.36-49.
“Peter Blake: rencontre à l’atelier = Peter Blake: a conversation in the studio” [translated into French by Jeanne Bouniort], in Peter Blake, catalogue of exhibition held as part of FIAC (Foire internationale d’art contemporaine), Paris, 22 – 25 Oct. 2009, & at Galerie Claude Bernard, Paris, 24 Oct. 2009 – 5 Jan. 2010. Paris: Galerie Claude Bernard, 2009, pp.9-30; English text reprinted as “Peter Blake, Hammersmith London 2009” in Interviews with artists, 1966-2012 (2012), pp.48-66.
2010
Books
In Giacometti’s studio. New Haven, CT; London: Yale University Press, 2010; 220p., 92 illus. (9 col.). (Contents: Preface, pp.7-12; “Journeying towards Giacometti: a memoir”, pp.15-41; “Giacometti’s studio before the war”, pp.43-96; “Giacometti’s studio in post-war Paris”, pp.101-175; Epilogue, pp.177-181; Appendix: “The dream, the sphinx and the death of T”, pp.183-189 [text by Alberto Giacometti, “Translated by the present author and originally published in Alberto Giacometti in Postwar Paris, New Haven and London, 2001, (pp.29-36)” – p.206]; Chronology, pp.191-198; Notes, pp.199-206; Selected exhibitions, pp.207-209; Bibliography, pp.211-214; Acknowledgements, p.215; Photograph and copyright credits, p.216; Index, pp.217-220); Italian edition published as Nello studio di Giacometti, Gallarate: MAGA Museo Arte Gallarate; Milano: Electa, 2011 (translated by Cosima Campagnolo, Valentina Palombi, Stefano Salpietro); 220p., 92 illus. (9 col.). (Contents: Prefazione, pp.7-12; “In viaggio verso Giacometti: una testimonianza”, pp.15-41; “Lo studio di Giacometti prima la guerra”, pp.43-96; “Lo studio di Giacometti nella Parisi del dopoguerra”, pp.101-175; Epilogo, pp.177-181; Appendice: “Il sogno, lo ‘Sphinx’ e la morte di T”, pp.183-189 [text by the artist]; Cronologia, pp.191-199; Note, pp.200-208; Esposizioni selezionate, pp.209-211; Bibliografia, pp.213-216; Ringraziamenti, p.217; Referenze fotografiche, p.219).
Lucian Freud: Large interior W11 (after Watteau) Paris, L’Échoppe, 2010, 32p.; originally published as ““Lucian Freud: à l’intérieur d’une oeuvre”, translated by Alice Bellony, in Connaissance des Arts, March 1984, pp.xxx; published with new preface, pp.5-14, translated by Patrice Cotensin; English version published as “Lucian Freud’s ‘Large interior, W11 (after Watteau)’” in Artists’ lives (2023), pp.266-277.
“Studios of America”, in The studio reader: on the space of artists, edited by Mary Jane Jacob and Michelle Grabner. Chicago; London: University of Chicago Press; Chicago: The School of Art of the Art Institute of Chicago, 2010, pp.68-79; previously published in Michael Peppiatt [text], Alice Bellony-Rewald [photographic research], Imagination’s chamber: artists and their studios, New York Graphic Society, Boston, 1982, chapter 9, pp.173-200.
Periodicals
Lucian Robinson, “The Books interview: Michael Peppiatt” [on the occasion of the publication of In Giacometti’s studio], New Statesman, London, vol.139 no.5030, 6 Dec. 2010, p.49.
Exhibition catalogues
“A conversation with Rupert Shrive”, in Rupert Shrive: After St. Theresa, catalogue of an exhibition at Morton Metropolis, London, 3 Mar. – 6 Apr. 2010. London: Morton Metropolis, 2010, pp.5-13; published in French as “Conversation avec Rupert Shrive” in Rupert Shrive: Something else, catalogue of an exhibition at Galerie Orel Art, Paris, 2011, pp.5-13; reprinted as “Rupert Shrive, Canal Saint-Martin Paris 2010” in Interviews with artists, 1966-2012 (2012), pp.140-148.
In Giacometti’s studio: an intimate portrait, curated by Michael Peppiatt, catalogue of an exhibition at Eykyn Maclean LP, New York, 29 Oct. – 18 Dec. 2010; 57p., 35 illustrations. (16 col.). (Contents: “In Giacometti’s studio: an intimate portrait”, pp.9-28 [reprinted in The making of modern art: selected writings (2020), pp.126-138 (“This text began life as a lecture given at the opening of ‘Alberto Giacometti in Postwar Paris’, Sainsbury’s Centre for Visual Arts, Norwich, 2 October – 9 December 2000. It then came out as a slender volume in French, Dans l’atelier de Giacometti, trans. Jeanne Bouniort, Paris: L’Échoppe, 2003, before being considerably expanded into a book, In Giacometti’s Studio, New Haven, CT and London: Yale University Press, 2010. This is an intermediate version.” – p.252)]; “Remembering Alberto Giacometti: an interview with Jacques Dupin”, pp.22-36 [reprinted in Artists’ lives (2023), pp.152-163]; Chronology, pp.40-54; Acknowledgements, p.57.); travelling to MAGA Museo Arte Gallarate, 5 Mar. – 5 June 2011, separate Italian-language catalogue published together with Italian translation of In Giacometti’s studio, as Nello studio de Giacometti, Gallarate: MAGA Museo Arte; Milano: Electa, 2011 (see entry for In Giacometti’s studio [2010])
Audiovisual
[participated in] The Radio 2 Arts Show with Anneka Rice on BBC Radio 2, 10 Dec. 2010, with Alfie Boe, Michaekl Fenton Stevens, Philip Pope, Estelle Lovatt, Michael Billington, Penny Smith.
[participant in] Start the Week, BBC Radio 4, 20 Dec. 2010, presented by Andrew Marr, with Anthony Caro, Sir Mark Jones & Justine Picardie, produced by Katy Hickman; available on genome.ch.bbc.co.uk.
2011
Books
Un après-midi chez Henry Moore (translated by Alice Bellony in 1983). Paris, L’Échoppe, 2011, 31p.; previously published in Connaissance des Arts, Paris, June 1983, pp.66,75; English translation published as “Henry Moore, Much Haddam Hertfordshire 1983” in Interviews with artists, 1966-2012 (2012), pp.184-195.
En el taller de Giacometti [text in Spanish], traducción de Clara Pastor. Barcelona: Editorial Elba S.L. (series: El taller de Elba, 8), 2011; 46p.
Gespräche in der Nacht: Francis Bacon über seine Arbeit; aus dem Englischen von Klaus Binder und Kay Heymer. Bern: Piet Meyer Verlag (series: “KapitaleBibliothek”, 3), 2011; 124p., 47 illus. (32 col.); partial translation of Francis Bacon: studies for a portrait: essays and interviews, 2008. (Contents: “Vorwoort zur Deutschen Ausgabe”, pp.6-7; “Francis Bacon im Atelier”, pp.11-48 [previously published as “Francis Bacon: The anatomy of an enigma”, Art International, Sept.-Nov. 1984, pp.4-18; “a revised and enlarged version of the essay published in Connaissance des Arts, May 1982” – p.18]; “Drei Interviews: Einleitung”, pp.51-57 [translation of “Interviewing Francis Bacon”, pp.8-13]; “Interview I”, pp.59-62 [previously published in Cambridge Opinion, Jan. 1964, as “From a conversation with Francis Bacon”, pp.48-49]; “Interview II”, pp.63-72 [previously published as “Francis Bacon: Reality conveyed by a lie” in Art International, Autumn 1987, pp.30-33]; “Interview III”, pp.73-84 [previously published as “An interview with Francis Bacon: Provoking accidents, prompting chance” Art International, Paris, Autumn 1989, pp.28-32]; “Vermächtnis eines Genies: Van Gogh und Francis Bacon”, pp.87-116 [previously published as “The legacy of genius: Van Gogh and Francis Bacon”, in Vincent van Gogh and Expressionism, catalogue of an exhibition at Neue Galerie, New York, 2007 pp.63-74]; Editorische Notiz, pp.119-121; Über den Autor, p.122).
Periodicals
Garcia-Osuna, “Caos genera cosmo: un viaje desde Bacon a Giacometti: Michael Peppiatt es el autor de las dos biografías de referencia de Bacon y Giacometti” [interview], Tendencias del Mercado del Arte, Madrid, no.39, [Jan. 2011], pp.28-34.
[Best books, by Michael Peppiatt], The Week, London, 19 Feb. 2011.
“All about Vincent” [review of Van Gogh: the life by Steven Naifeh & Gregory White Smith, Profile Books], Literary Review, London, no.394, Dec. 2011 – Jan. 2012, pp.38-39; reprinted as “Van Gogh’s last word” in The making of modern art: selected writings (2020), pp.44-47.
Exhibition catalogues
“Conversation avec Rupert Shrive” [previously published in English as “A conversation with Rupert Shrive”, in Rupert Shrive: After St. Theresa, catalogue of an exhibition at Morton Metropolis, London, 2010, pp.5-13], in Rupert Shrive: Something else, catalogue of an exhibition at Galerie Orel Art, Paris, 16 Mar. – 30 Apr. 2011. Paris: Galerie Orel Art, 2011, pp.5-13.
“Paul Jenkins: the alchemy of art” [dated May 2011], in Paul Jenkins: paintings from the 1960s and 1970s, catalogue of an exhibition at Redfern Gallery, London, [7 June – 28 July] 2011. London: Redfern Gallery, 2011, pp.[3-7]; reprinted in Paul Jenkins, catalogue of exhibition at Abbot Hall Art Gallery, Kendal, 2016, pp.2-5.
Alberto Giacometti: l’anima del Novecento, a cura di Michael Peppiatt, catalogue of an exhibition at MAGA Museo Arte Gallarte, 5 Mar. – 5 June 2011; Gallarte: MAGA Museo Arte Gallarte; Milan: Electa, 2011; 136p., 94 illus. (64 col.). (Texts by MP (translated by Ben Bazalgette): “Alberto Giacometti: un ritratto intimo”, pp.16-19; “Ricordando Alberto Giacometti: un’intervista con Jacques Dupin”, pp.26-30); published together with Italian translation of In Giacometti’s studio, as Nello studio de Giacometti, Gallarate: MAGA Museo Arte; Milano: Electa, 2011 (see entry for In Giacometti’s studio [2010]); previously at Eykyn Maclean Gallery, New York, 29 Oct. – 18 Dec. 2010, as In Giacometti’s studio: an intimate portrait, curated by Michael Peppiatt; texts by MP originally publiished as “In Giacometti’s studio: an intimate portrait”, pp.9-28 [reprinted in The making of modern art: selected writings (2020), pp.126-138]; “Remembering Alberto Giacometti: an interview with Jacques Dupin”, pp.22-36 [reprinted in Artists’ lives (2023), pp.152-163]).
2012
Books
In Giacomettis Atelier. Berlin: Deutscher Kunstverlag, 2012 [or 2013].
Interviews with artists, 1966-2011. New Haven, CT; London: Yale University Press, 2012; xiii, 420p. (Contents: Introduction, pp.vi-xiii; “School of London artists”: “Frank Auerbach, Camden Town London 1998”, pp.2-13 [recorded in London, June 1998; previously unpublished]; “R.B. Kitaj, Chelsea London 1987”, pp.15-22 [previously published as “R. B. Kitaj: The Diaspora in London” in Art International, Autumn 1987, pp.34-38]; “Francis Bacon, South Kensington London 1982”, pp.25-34 [previously published as “An interview with Francis Bacon: Provoking accidents, prompting chance” in Art International, Autumn 1989, pp.28-32]; “Frank Auerbach, Camden Town London 1999”, pp.37-46 [previously unpublished]; “Peter Blake, Hammersmith London 2009”, pp.49-66 [previously published as “Peter Blake: rencontre à l’atelier = Peter Blake: a conversation in the studio” in Peter Blake, catalogue of an exhibition at FIAC & Galerie Claude Bernard, Paris, Oct. 2009, pp.9-30]; “Raymond Mason, Luxembourg Gardens Paris 1982”, pp.69-75 [previously published in Sunday Times Magazine, 12 Dec. 1982, pp.30-31]; “Tony Bevan, Deptford London 2008”, pp.77-89 [previously published as “Tony Bevan in conversation with Michael Peppiatt” in Tony Bevan: new paintings, catalogue of an exhibition at Ben Brown Fine Arts, London, 2008, pp.35-40]; “Hughie O’Donoghue, Greenwich London 2009”, pp.91-109 [previously published as “Michael Peppiatt in conversation with Hughie O’Donoghue” in Hughie O’Donoghue: The journey, catalogue of an exhibition at Leeds Art Gallery, 2009, pp.15-24]; “Paul Simonon, Paddington London 2008”, pp.111-118 [previously published as “The line of reality: a conversation between Paul SImonon and Michael Peppiatt” in Paul Simonon: recent paintings, catalogue of an exhibition at Thomas Williams Fine Art, London, 2008, pp.(4-7)]; “Robert Priseman, Holland Park London 2008”, pp.121-138 [previously published as “The Francis Bacon interiors: Michael Peppiatt in conversation with Robert Priseman” in The Francis Bacon interiors: Michael Peppiatt in conversation with Robert Priseman, published on the occasion of an exhibition at Huddersfield Art Gallery, 2009, pp.9-29]; “Rupert Shrive, Canal Saint-Martin Paris 2010”, pp.141-148 [previously published as “A conversation with Rupert Shrive” in Rupert Shrive: After St. Theresa, catalogue of an exhibition at Morton Metropolis, London, 2010, pp.5-13]; “Three architects”: “Norman Foster, Battersea London 2000”, pp.153-156 [previously published in Town & Country, New York, Dec. 2000, pp.xxxx]; “Richard Meier, Chelsea New York 2000”, pp.159-163 [previously published in AD, Paris, July 2000, pp.xxxx]; “Oscar Niemeyer, Copacabana Rio de Janeiro 2000”, pp.165-168 [previously published in AD, Paris, Jan. 2001, pp.xxxx]; “Studio visits”: “Balthus, Villa Medici Rome 1966”, pp.173-177 [previously published as “Balthus, waker of dreams” in Réalités (édition anglaise), Oct. 1967, pp.52-56]; “Henri Cartier-Bresson, Rue de Rivoli Paris 1987”, pp.179-182 [previously published as “Artist’s dialogue: Henri Cartier-Bresson – drawing on an old passion” in Architectural Digest, Los Angeles, Jan. 1987, p.40]; “Henry Moore, Much Haddam Hertfordshire 1983”, pp.185-195 [French version previously published as “Un après-midi chez Moore” in Connaissance des Arts, June 1983, pp.xxxx]; “Paris: Sonia Delaunay, Rue Saint-Dominique Paris 1975”, pp.197-200 [previously published as “Sonia Delaunay: a life in color” in Art News, March 1975, pp.88-91]; “Diego Giacometti, Alesia Paris 1985”, pp.203-207 [previously published as ”The man who laughed at fame, but it came to Diego Giacometti anyway” in Connoisseur, Mar. 1987, pp.144-147]; “Hans Hartung, Antibes 1986”, pp.209-211 [previously published in Architectural Digest, Los Angeles, Oct. 1986, pp.xxxx]; “César, Montparnasse Paris / Saint-Paul-de-Vence 1988”, pp.213-215 [previously published in Architectural Digest, Los Angeles, Feb. 1989, pp.xxxx]; “Avigdor Arikha, Montparnasse Paris 1982”, pp.217-222 [French version published as “Fie1vre-œil-main” in Connaissance des Arts, May 1982, pp.xxxx; English version previously published as “Avigdor Arikha: A hunger in the eye”, Art International, Sept.-Oct. 1982, pp.18-28]; “Piero Guccione, Scicli Sicily 1988”, pp.225-228 [previously published as “Artist’s dialogue: Piero Guccione: Sicilian perspectives”, Architectural Digest, Mar. 1989, pp.254, 258, 262, & as “Piero Guccione” in Piero Guccione: recent paintings and drawings, catalogue of an exhibition at James Goodman Gallery, New York, 1989, pp.95-7)]; “Ida Barbarigo, Dorsoduro Venice 2000”, pp.231-234 [previously published in AD, Paris, Sept. 2000, pp.xxxx]; “Antoni Tàpies, El Putxet Barcelona 1987”, pp.237-240; [previously published in Architectural Digest, Los Angeles, Aug. 1987, pp.xxxx]; “Claes Oldenburg, Madrid 2010 / West Soho New York 2011”, pp.242-254 [recorded in Madrid, Feb. 2010; previously unpublished]; “Bill Jacklin, New York / London 2011-12”, pp.256-267 [previously unpublished; reprinted as “In conversation: Bill Jacklin and Michael Peppiatt, New York / London 2011-12” in Bill Jacklin’s New York, New York: Scala Arts Publishers, Inc., 2016, pp.14-23]; “Three photographers”: “Brassaï, Montparnasse, Paris 1976”, pp.271-274 [previously published as “The ‘Eye of Paris” looks inward” in New York Times, 19 Sept. 1976]; “Henri Cartier-Bresson, Rue de Rivoli Paris 1987”, pp.277-279 [previously published as “Henri Cartier-Bresson: Draughtsman and photographer” in Art International, Paris, Autumn 1987, pp.69-75]; “Hans Namuth, Chelsea New York 1989”, pp.281-284 [previously published as “Hans Namuth: Artists’ portraits” in Art International, Paris, Spring 1989, pp.40-49]; “European artists”: “Jean Dubuffet, Rue de Vaugirard Paris 1977”, pp.289-294 [previously published in Art News, May 1977, pp.xxxx]; “Dado, Rue des Archives Paris 1976”, pp.297-305 [previously published as “D’un enrtretien avec Dado” in Dado dessins, catalogue of an exhibition at Galerie Isy Brachot, Paris, Nov. 1978, pp.7, 11, 14, 22, 25]; “Per Kirkeby, Copenhagen 1993”, pp.307-312 [previously published as “In the studio with Per Kirkeby: ‘Good painting is more kitschy than tasteful’” in Art International, Paris, Spring-Summer 1991, pp.42-48]; “Miguel Condé, Rue des Archives Paris 1992”, pp.315-324 [previously published in Miguel Condé, catalogue of an exhibition at Galerias Ignacio de Lasaletta, Barcelona, Nov. 1992, pp.xxxx]; “Zoran Music, Rue des Vignes Paris 1987”, pp.327-334 [previously published as “Zoran Music: Inspired by Dachau” in Art International, Spring 1988, pp.22-27; reprinted with Italian translation as part of “Zoran Music fra le ombre e il sole = Zoran Music between the shadows and the sun”, in Zoran Music: gli acquerelli veneziani = The Venetian watercolours 1947-1949, catalogue of an exhibition at Museo Morandi, Bologna, 1998, pp.15-19, 20-23]; “Zoran Music, Dorsoduro Venice 1995”, pp.335-340 [previously published in Zoran Music, catalogue of an exhibition at Galeries nationales du Grand Palais, Paris, Apr. 1995, pp.227-229]; “Zoran Music, Saint-Germain-des-Prés Paris 1999”, pp.341-347 [previously published as “Interview 3, Paris, 1997-98” in Zoran Music, catalogue of an exhibition at the Sainsbury Centre for the Visual Arts, Norwich, Feb. 2000, pp.45-50]; “Pierre Soulages, Rue des Trois Portes Paris 1980”, pp.349-357 [previously published as “An interview with Pierre Soulages = Entretien avec Pierre Soulages” in Art International, Nov.-Dec. 1980, pp.157-166 (English text), 167-173 (French text)]; “Louis le Brocquy, Carros France 1979”, pp.359-369 [previously published as “Interview with Louis Le Brocquy” in Art International, Oct. 1979, pp.60-66; reprinted, with French & German translations, in Louis le Brocquy: The head image: interviews with the artist, published on the occasion of exhibition at the Irish Museum of Modern Art, Dublin, 1996. Kinsale, Co. Cork: Gandon Editions, 1996, pp.22-25 (English text), 166-169 (French text), 178-181 (German text)]; “Antoni Tàpies, El Putxet Barcelona 1990”, pp.371-377 [previously published as “An interview with Antoni Tàpies: The soul revealed by the hand” in Art International, Winter 1990, pp.34-40; reprinted with new introduction dated Sept. 2004 & Poruguese translation as “A alma guiada pelas mãos: una entrevista com Antoni Tàpies = The soul guided by the hand: an interview with Antoni Tàpies”, in Antoni Tàpies, catalogue of an exhibition at Centro Cultural Banco do Brasil, São Paulo, 2004-2005, travelling to Rio de Janeiro & Brasilia, 2025, pp.21-32]; “Sean Scully, Bavaria 2004”, pp.379-392 [previously published as “Michael Peppiatt – Sean Scully” in Sean Scully: Winter robe, catalogue of an exhibition at Galerie Lelong, Paris, 2004, pp.9-21]; “Sean Scully, Bavaria 2004”, pp.394-404 [previously unpublished]; “José María Sicilia, Barbès Paris 1989”, pp.407-410 [previously published as “José María Sicilia: Escaping the tyranny of style” in Art International, Spring 1989, pp.71-76]; Antoni Tàpies, El Putxet Barcelona 1986”, pp.413-416 [previously published as “Antoni Tàpies: Fields of energy” in Art International, Paris, Summer 1988, pp.37-42]; Acknowledgements, p.417; Illustrations, pp.[418-419]). Extracts from 6 interviews published in “Artists talk”, Financial Times, 25 May 2012.
Periodicals
“Artists talk” [extracts from interviews with R.B. Kitaj, Frank Auerbach, Hans Namuth, Francis Bacon, Claes Oldenburg & Peter Blake, published on the occasion of the publication of Interviews with Artists 1966-2011], Financial Times, London, 25 May 2012
“Picasso’s trousers”, The Journal [Mr. Porter], London, 9 Oct. 2012; reprinted as “Picasso’s trousers” in Artists’ lives (2023), pp.62-65.
Exhibition catalogues
Interviews with Artists: Curated by Michael Peppiatt, exhibition on the occasion of the publication of the book Interviews with artists, 1966-2011, Eykyn Maclean, London, 19 June – 27 July 2012; no catalogue published.
2013
Books
“Foreword”, in Thomas Williams, The Bay Area School: Californian artists from the 1940s, 1950s and 1960s, published on the occasion of an exhibition at Thomas Williams Fine Art, London, 2013. Farnham; Burlington, VT: Lund Humphries, in association with Thomas Williams Fine Art Ltd., 2013, pp.8-11; reprinted as “The Bay Area artists” in The making of modern art: selected writings (2020), pp.191-194.
Exhibition catalogues
“Introduction: Fabienne Verdier in conversation with Michael Peppiatt”, in Fabienne Verdier, catalogue of exhibition Fabienne Verdier: A solo exhibition at Art Plural Gallery, Singapore, [25 Jan. – 9 Mar.] 2013. Singapore: Art Plural Gallery, 2013, pp.6-13.
Giacometti and Sartre: a double portrait, catalogue of an exhibition at Eykyn Maclean, New York, 2013. New York: Eykyn Maclean, 2013.
“John Lessore in conversation with Michael Peppiatt”, in John Lessore: “In London”, catalogue of an exhibition at Kings Place Gallery, London, 10 Jan. – 22 Feb. 2013; University Gallery, Northumbria University, Newcastle upon Tyne, 5 Apr. – 17 May 2013. London: Kings Place Gallery; Newcastle upon Tyne: University Gallery, Northumbria University, 2013, pp.4-8.
“Giacometti und sein Kreis: Schriftsteller und Philosophen als Gesprächspartner und Modelle” [translated by Wolfgang Himmelberg], in Alberto Giacometti: Begegnungen; Ausstellung und Katalog: Eva Hausdorf und Michael Peppiatt; mit Beiträgen von Casimiro Di Crescenzo [et al.], catalogue of an exhibition at Bucerius Kunst Forum, Hamburg, 26 Jan. – 20 May 2013. München: Hirmer Verlag, 2013; 204p., 236 illus. (159 col.).
“‘Black A, white E, red I, green U, blue O: vowels, One day I shall reveal your secret birth.’ Arthur Rimbaud, Voyelles”, in Nicolas de Staël, catalogue of an exhibition at Mitchell-Innes & Nash, New York, 2 – 31 May 2013. New York: Mitchell-Innes & Nash, 2013, pp.7-17; reprinted as “Looking back at Nicolas de Staël” in Artists’ lives (2023), pp.182-188.
Audiovisual
“From Breton to Beckett: the writers in Giacometti’s circle” [text of a lecture delivered at the Bucerius Kunstforum, Hamburg, in January 2013], published in Artists’ lives (2023), pp.135-151.
2014
Books
Art plural: voices of contemporary art [by] Michael Peppiatt, curated by Frédéric de Senarclens, interviews by Jane A. Petersen. Singapore; London: Gatehouse Publishing, 2014; 240p., 142 col. illustrations (Texts by MP: “The origins of change”, pp.8-11; “A teeming plurality”, pp.12-21).
Henri Cartier-Bresson: rencontres à Paris, 1987. Paris, L’Échoppe, 2014, 32p.
Periodicals
[interview], Art Republik, Singapore, 2014.
Exhibition catalogues
“Arturo Di Stefano and Michael Peppiatt in conversation”, in Arturo Di Stefano: Fat over lean, catalogue of an exhibition at Purdy Hicks Gallery, London, 28 Mar. – 26 Apr. 2014. London: Purdy Hicks Gallery, 2014, pp.5-8.
2015
Books
Francis Bacon in your blood : a memoir. London: Bloomsbury Circus, 2015; xii, 404p. (Contents: Preface, pp.ix-xii; text, pp.1-391; Acknowledgements, pp.393-394; Index, pp.395-401; A note on the author, p.[403]; A note on the type, p.[404]); paperback edition, London, New York: Bloomsbury Paperbacks, 2016; xii, 401p. [eBook; US hardback, paperback, eBook; audiobook narrated by MP published by Audible] [adapted sections published in Daily Mail: “Genius who turned debauchery into an art form”, 22 Aug. 2015, pp.52-53; “A genius for debauchery: How the Krays stalked Francis Bacon and even sent him their naff paintings”, 24 Aug. 2015, pp.28-29; extract on pp.88-100 reprinted as “Conversations at night” in Francis Bacon, catalogue of an exhibition at Museu de Arte de São Paulo Assis Chateaubriand, 2024, pp.228-243; 5 extracts abridged by Richard Hamilton and read by Adrian Scarborough broadcast on BBC Radio 4 from 24 to 28 Aug. 2015; omnibus edition broadcast on 30 Aug. 2015 & available on MP’s website.
Periodicals
“Scrapes with success” [review of Frank Auerbach: speaking and painting by Catherine Lampert, Thames & Hudson], Literary Review, London, no.431, May 2015, pp.31-32; reprinted as “Frank Auerbach in chiaroscuro” in The making of modern art: selected writings.(2020), pp.237-239.
“Michael Peppiatt remembers a boozy lunch in Paris with Francis Bacon” [interview with Guy Kelly, on the occasion of the publication of Francis Bacon in your blood : a memoir] The Telegraph, London, 28 Aug. 2015.
“Debauchery and darkness: 30 years of drinking with Francis Bacon”, The Guardian, London, 2 Sept. 2015.
Exhibition catalogues
Dado: Horama, catalogue of an exhibition at Abbaye d’Auberive. Abbaye d’Auberive (Haute-Marne), 2015.
“Joan Miró: ein Maler under Dichtern” [translated by Wolfgang Himmelberg], in Miró: Malerei als Poesie; Ausstellung und Katalog Michael Peppiatt, London, Ortrud Westheider, Bucerius Kunst Forum, Hamburg, Marion Ackermann, Kunstsammlung Nordrhein-Westfalen, Düsseldorf; mit Beiträgen von Marion Ackermann … [et al.], catalogue of an exhibition at Bucerius Kunst Forum, Hamburg, 31 Jan. – 25 May 2015; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 13 June – 27 Sept. 2015. Hamburg: Bucerius Kunst Forum; Düsseldorf: Kunstsammlung Nordrhein-Westfalen; München: Hirmer Verlag, 2015; 224p., 217 illus. (191 col.); pp.10-19. English version reprinted as “Joan Miró: a painter among poets” in Artists’ lives (2023), pp.66-77
“‘To create something is a sort of echo from one artist to another’” [on two works by Francis Bacon], in Keys to a passion; Edited by Suzanne Page and Beatrice Parent, catalogue of an exhibition Les clefs d’une passion at Fondation Louis Vuitton, 1 Apr. – 6 July 2015. Paris: Éditions Hazan; Fondation Louis Vuitton; New Haven, CT; London: Yale University Press, 2015, pp.64-67; also published in a French edition titled Les clefs d’une passion, 2015.
“Francis Bacon: the self portrayed”, in Reflections on the self: From Dürer to Struth; essays by James Hall, Roberto Marrone, Michael Peppiatt, William Paton, catalogue of an exhibition at Christie’s Mayfair, London, 2 June – 5 Sept. 2015. London: Christie’s International Media Division, 2015, pp.51-57; reprinted as “Francis Bacon: the self portrayed” in The making of modern art: selected writings (2020), pp.226-230.
“Djamel Tatah: an introduction” in Djamel Tatah, catalogue of an exhibition at Ben Brown Fine Arts, London, 4 June – 7 Aug. 2015. London: Ben Brown Fine Arts, 2015, pp.4-8.
Audiovisual
[participated in] Great Lives: Zoran Music on BBC Radio 4, 21 Apr. 2015, repeated on 2 Aug. 2020, presented by Matthew Parris, produced by Perminder Khatkar; available on genome.ch.bbc.co.uk.
2016
Books
“In conversation: Bill Jacklin and Michael Peppiatt, New York / London 2011-12”, in Bill Jacklin’s New York; Foreword by Sting; Interview by Michael Peppiatt. New York: Scala Arts Publishers, Inc., 2016, pp.14-23; previously published as “Bill Jacklin, New York / London 2011-12” in Interviews with artists, 1966-2011 (2012), pp.256-267.
Periodicals
“The visitors’ book: In Francis Bacon’s shadow review – boozing and mischief” [review of The visitors’ book: In Francis Bacon’s shadow: The lives of Richard Chopping and Denis Wirth-Miller by Jon Lys Turner, 2016], The Guardian, London, 8 July 2016.
Exhibition catalogues
Marc Desgrandchamps, catalogue of an exhibition at Galerie Lelong, Paris, 2016. Paris: Galerie Lelong, 2016.
“Pierre Skira” [interview, dated “Paris, Nov. 2015] in Pierre Skira: new pastels, catalogue of an exhibition at Redfern Gallery, London, 12 – 28 Jan. 2016. London: Redfern Gallery, 2016, pp.3-7.
“Michael Peppiatt in conversation with Francis Outred” (dated 10 Dec. 2015), on the occasion of the sale of Francis Bacon: Two Figures [1975], from the collection of MP, catalogue for auction 11795, Icons of British Art: Post-War and Contemporary British Art: Evening Auction at Christie’s, London, 11 Feb. 2016. London: Christie’s, 2016; pp.52-55 & pp.174-175; at https://christies.com/en/lot/lot-5973066
“Paul Jenkins: the alchemy of art” in Paul Jenkins, catalogue of an exhibition at Abbot Hall Art Gallery, Kendal, 27 Oct. – 17 Dec. 2016. Kendal: Abbot Hall Art Gallery; London: Redfern Gallery, 2016, pp.2-5; previously published in Paul Jenkins: paintings from the 1960s and 1970s, catalogue of an exhibition at Redfern Gallery, London, 2011, pp.[3-7].
2017
Books
Claes Oldenburg raconte ses premières années d’artiste. Paris, L’Échoppe, 2017.
David Hockney, souvenirs, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 2017; 31p.; published in English as “Memories of David Hockney” in The making of modern art: selected writings (2020), pp.240-247.
“Michael Peppiatt and Robert Brown: A conversation with Michael Peppiatt” in Francis Bacon: ‘Three studies for a portrait of George Dyer’, published on the occasion of the evening sale Post-war and contemporary art at Christie’s New York, 17 May 2017. New York: Christie’s, 2017; 4 vols.; vol. [IV], pp.69-87.
Audiovisual
[participant in] Francis Bacon: a brush with violence, documentary film by IWC Media for BBC Arts, shown on BBC Two on 28 Jan. 2017, 79 mins.; directed by Richard Curson Smith, produced by Richard Curson Smith & Lucy Evans.
[participant in] Public Indecency: Queer Britain, series !: Coming Out, on BBC Radio 4, 31 July 2017, presented by Simon Callow, produced by Max O’Brien; on Francis Bacon’s depiction of male figures and gay sex; available on genome.ch.bbc.co.uk.
2018
Books
Giacometti et Bacon: une rencontre à Londres, 1965; traduit de l’anglais par Patrice Cotensin. Paris : L’Échoppe, 2018, 40p.; English version published as Bacon / Giacometti: a dialogue. London: Eris Publishing, 2020.
Periodicals
“Back to school” [review of Modernists & mavericks: Bacon, Freud, Hockney & the London painters by Martin Gayford, Thames & Hudson], Literary Review, London, no.464, May 2018, pp.20-21.
Exhibition catalogues
Bacon – Giacometti, catalogue [co-edited by Catherine Grenier, Ulf Küster & MP] of an exhibition co-curated by Catherine Grenier, Ulf Küster & MP at Fondation Beyeler, Riehen/Basel, 29 Apr. – 2 Sept. 2018. Riehen/Basel: Fondation Beyeler, 2018; 205p., 147 illustrates. (115 col.). (Texts by MP: Foreword [by Sam Keller, Catherine Grenier, Ulf Küster & MP], pp.13-14; “Francis Bacon and Alberto Giacometti: Parallel visions of a terrible truth”, pp.168-174. [Also published in a German edition]; A “considerably enlarged and revised version” (p.265) published as “Bacon / Giacometti: parallel visions of a terrible truth” in Artists’ lives (2023), pp.143-265; French translation of this version published by L’Échoppe, Paris, in 2019.)
Audiovisual
Michael Peppiatt on Alberto Giacometti”, 3m.26s. [interview], [2018], https://www.youtube.com/watch?v=sUCxh0cFpxo
2019
Books
“To start again from the beginning”, preface to Avigdor Arikha: On depiction: selected writings on art, 1965-94, Athens: Benaki Museum; London: Eris, 2019, pp.ix-xiv [reprint, with new preface by MP, of collection previously published by Bellew Publishing Company in 1995]; available on https://www.benaki.org/images/publications/pdf/Arikha-On%20Depiction-Preview.pdf; reprinted in in Avigdor Arikha: A breath. London: Eris; Athens: Benaki Museum, 2020; reprinted as “Avigdor Arikha: a hunger in the eye” in The making of modern art: selected writings (2020), pp.175-179 (“This preface was edited by Alex Stavrakis, skilfully and seamlessly running together two pieces I wrote about Arikha.”, p.253 – i.e. “Avigdor Arikha: fièvre-oeil-main”, in Connaissance des Arts, Paris, May 1982, & “Avigdor Arikha: a hunger in the eye”, in Art International, Lugano, Sept.-Oct. 1982).
Bacon et Giacometti en parallèle, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 2019; 66p. English version of this text published as as “Bacon / Giacometti: parallel visions of a terrible truth” in Artists’ Lives (2023), pp.243-265 (“This essay is a considerably enlarged and revised version of the text that I published in the catalogue for the Bacon / Giacometti exhibition that took place at the Fondation Beyeler in Switzerland in 2018 [pp.168-174]. A similar version was first published, in a translation into French by Patrice Cotensin, by L’Échoppe in Paris in 2019.” – p.265).
“From a conversation with Francis Bacon” [originally published in Cambridge Opinion, 1964, pp.26-27], “Reality conveyed by a lie” [originally published in Art International, Autumn 1987, pp.30-33], “An interview with Francis Bacon: Provoking accident, prompting chance” [originally published in Art International, Autumn 1989, pp.28-32], in Conversations: Francis Bacon, preface by Yannick Haenel, Strasbourg: L’Atelier contemporain (series: ‘Écrits ds’artistes’), 2019, pp.35-37, 135-141, 143-151.
The existential Englishman: Paris among the artists. London: Bloomsbury Publishing, 2019; xiv, 365p. (Contents: Preface, pp.vii-xiv; text, pp.1-348; Acknowledgements, pp.349-350; Notes, p.351; Index, pp.353-361; A note on the author, p.363; A note on the type, p.365); paperback edition, London: Bloomsbury Publishing, 2020; xiv, 363p. Paperback edition, Bloomsbury Publishing, 2020, xiv, 363p.
Periodicals
“My favourite painting: Graffiti on the studio wall by Alberto Giacometti”, Country Life, London, vol.213 no.15, 10 Apr. 2019, p.48.
Exhibition catalogues
“Francis Bacon et William Shakespeare” [translated by Jeanne Bouniort], in Bacon en toutes lettres, sous la direction de Didier Ottinger, catalogue of an exhibition at Centre Pompidou, Musée national d’art moderne, Paris, 11 Sept. 2019 – 20 Jan. 2020. Paris: Centre Pompidou, 2019, pp.188-192; original English version, “Francis Bacon and William Shakespeare”, published in Francis Bacon: Books and painting, 2019, pp.188-192; English text reprinted in Francis Bacon: studies for a portrait: essays and interviews (revised edition, 2021), pp.159-165.
Audiovisual
“Tim Marlow in conversation with Michael Peppiatt’” [on the occasion of the publication of the book The Existential Englishman, in the Royal Academy of Arts, 21 May 2019.
2020
Books
“Adrian Ghenie in conversation with Michael Peppiatt” [“This initial interview took place at a flat in Holland Park, London.” – p.82], in Adrian Ghenie: paintings 2014-19, edited by Juerg Judin. Berlin: Hatje Cantz Verlag, 2020, pp.81-88, 119-124, 149-154; French version published as Conversations avec Adrian Ghenie. Paris: L’Échoppe, 2021; extracts reprinted as “Interview with Adrian Ghenie”. in Flesh and soul: Bacon / Ghenie (parallel English/Chinese text), catalogue of an exhibition [at the Hong Kong Convention and Exhibition Centre] presented by Christie’s Hong Kong and HomeArt, [& in Seoul, 2022], pp.13-21, 32-35, 40-45, 56-59, 70-73, 82-84 (Adrian Ghenie volume)
[text] in Avigdor Arikha: A breath. London: Eris; Athens: Benaki Museum, 2020, 382p.; previously published as “To start again from the beginning”, preface to Avigdor Arikha: On depiction: selected writings on art, 1965-94, Athens: Benaki Museum; London: Eris, 2019, pp.ix-xiv.
Bacon / Giacometti: a dialogue. London: Eris Press (series: “Eris Dialogues”), 2020, 36p.; French translation previously published as Giacometti et Bacon: une rencontre à Londres 1965, Paris: L’Échoppe, 2018.
The making of modern art: selected writings. New Haven, CT; London: Yale University Press, 2020; 255p. (Contents: “Introduction: The making of modern art”, pp.4-11; “Towards Modernism”: “Victor Hugo, draughtsman”, pp.14-18 [previously unpublished essay; review of an exhibition of drawings by Victor Hugo at Maison Victor Hugo, Paris; “This essay was written in 1971 for Art International, but I can find no trace of its having been published there or elsewhere.” – p.250]; “Manet and Degas at work”, pp.19-24 [previously published as a section of Imagination’s chamber: artists and their studios, 1982, pp.93-100]; “The paradox of Cézanne”, pp.25-33 [previously published in Horizon: a Magazine of the Arts, Spring 1974, pp.14-29]; “Auguste Rodin’s women”, pp.34-37[previously published as “Art that casts a long shadow” in New York Times Book Review, p.3]; “Maillol: the silent revolution”, pp.38-43 [first published as “Introduction” in Aristide Maillol, catalogue of an exhibition catalogue of an exhibition at IVAM, Institute Valencià d’Art Modern, 2002, p.13-24]; “Van Gogh’s last word”, pp.44-47 [previously published as “All about Vincent” in Literary Review, Dec. 2011-Jan.2012, pp.38-39]; “Gustav Klimt on the swing of fashion”, pp.48-53 [previously published as “Gustav Klimt: revelatin of the ‘Art Nouveau’ revival” in Réalités [édition anglaise], June 1966, pp.68-75]; “European masters”: “Matisse: seen from the studio”, pp.56-60 [previously published as a section of Imagination’s chamber: artists and their studios, 1982, pp.142-147]; “Picasso’s progress”, pp.61-67 [previously published as a section of Imagination’s chamber: artists and their studios, 1982, pp.116-125]; “Juan Gris: all the colour was on the canvas”, pp.68-71 [previously published as “All the color was on the canvas” in New York Times, Book Review, p.32]; “The trouble with ‘Primitivism’”, pp.72-77 [French version previously published as “Sujet tabou, exposition risquée?” in Connaissance des Arts, Sept. 1984, pp.84-95]; “Klee and Kandinsky side by side”, pp.78-80 [previously published as a section of Imagination’s chamber: artists and their studios, 1982, pp.138-141]; “Otto Dix: ‘That’s how it was’”, pp.81-82 [previously published as “Otto Dix” in Financial Times, 24 Mar. 1972, p.3]; “Soutine as artist and victim”, pp.83-85 [previously published in New York Times, 27 May 1973, p.111]; “Painters and poets”, pp.86-89 [previously published as “Art: Modern illustrated books : dynamic fusions of word and image” in Architectural Digest, Los Angeles, Mar.1992, pp.156-158, 176]; “Art-world profiles”: “”Joseph Duveen: manipulator extraordinaire”, pp.92-96 [previously published as “The art of the deal” in The New York Times Book Review, p.13]; “Tériade, publisher genius”, pp.97-99 [previously published as “The creative influence of Tériade” in New York Times, 8 July 1973, p.21]; “Chick Austin: magician of the modern”, pp.100-103 [previously published as “Professor Marvel at the Atheneum” in New York Review, Book Review, 25 Feb. 2001, p.22]; “Inside the mind of André Malraux”, pp.104-106 [previously published as “It’s like looking at the mind of André Malraux” in New York Times, 23 Sept. 1973, p.25]; “Gilbert de Botton: portrait of an art collector”, pp.107-112 [previously published in Art International, Winter 1990, pp.37-40]; “André Emmerich: portrait of an art dealer”, pp.113-117 [previously published in Art International, Autumn 1990, pp.30-33]; “Fire under the ashes: an interview with Jan Krugier”, pp.118-123 [previously published as “The fire under the ashes: Michael Peppiatt talks to Jan Krugier” in Jean-Michel Basquiat, Gaston Chaissac, Jean Dubuffet, Joaquin Torres-García, catalogue of an exhibition at Galerie Jan Krugier, Geneva, & Galerie Enrico Navarra, Paris, 2003, pp.8-15]; “Post-War renewal”: “In Giacometti’s studio”, pp.126-138 [“This text began life as a lecture given at the opening of ‘Alberto Giacometti in Postwar Paris’, Sainsbury’s Centre for Visual Arts, Norwich, 2 October – 9 December 2000 (sic – in fact 2001). It then came out as a slender volume in French, Dans l’atelier de Giacometti, trans. Jeanne Bouniort, Paris: L’Échoppe, 2003, before being considerably expanded into a book, In Giacometti’s Studio, New Haven, CT and London: Yale University Press, 2010. This is an intermediate version.” – p.252)]; “Balthus, Klossowski, Bellmer: Eros unbound”, pp.139-150 [previously published as “Balthus, Klossowski, Bellmer: Three approaches to the flesh” in Art International, 20 Oct. 1973, pp.23-28, 65]; “Jean Dubuffet: letters to an editor”, pp.151-162 [French version previously published as “Préface” in Jean Dubuffet, James Fitzsimmons, Correspondance 1956-1964, 2006, pp.7-27]; “María Helena Vieira da Silva’s labyrinth”, pp.163-165 [previously published in Financial Times, 21 Nov. 1974, pp.xxxx]; “Zoran Mušič: in the silence of time”, pp.166-169 [previously published as “In the silence of time: The art of Zoran Music” in Art International, Aug.-Sept. 1981, pp.169-174]; “The mid-century dilemma of Nicolas de Staël”, pp.170-174 [previously published as “Abstraction versus figuration: The mid-century dilemma of Nicolas de Staël” in Art International, Autumn 1988, pp.22-26]; “Avigdor Arikha: a hunger in the eye”, pp.175-179 [previously published as “To start again from the beginning” in Avigdor Arikha, On depiction: selected writings on art, 1965-94, pp.2019, pp.ix-xiv (“This preface was edited by Alex Stavrakas, skilfully and seamlessly running together two pieces I wrote about Arikha” – p.253)]; “American visions”: “O’Keeffe and Stieglitz: an American romance”, 192-185 [previously published as “Give or take a few infidelities” in New York Times, 26 May 1991, p.9]; “Jackson Pollock reconsidered”, pp.186-190 [French version published as “Jackson Pollock, l’Action reconsidérée” in Connaissance des Arts, Feb. 1982, pp.xxxx; published in English as “Jackson Pollock reconsidered” in XXXX, pp.28-35]; “The Bay Area artists”, pp.191-194 [previously published as “Foreword” to Thomas Williams, The Bay Area School: Californian artists from the 1940s, 1950s and 1960s, 2013, pp.8-11]; “Alexander Calder sets all forms free”, pp.195-196 [previously published as “Sculpture as landscape: moving mobiles into the garden” by “Michael Henry”, in Réalités (édition anglaise), Oct. 1967, pp.85, 98]; “The achievement of Joe Downing”, pp.197-202 [previously published in Art International, Sept.-Oct. 1983, pp.1-8]; “Bill Jacklin: a poet in Venice and New York”, pp.203-205 [previously published in Bill Jacklin: People and places II, catalogue of an exhibition at Marlborough Gallery, London, 2008, pp.5-6]; “School of London”: “Is there a School of London?”, pp.208-225 [previously published as “A School of London” in A School of London: six figurative painters,, catalogue of an exhibition organised by the British Council, at Kunstnernes Hus, Oslo, & travelling, 1987-1988, pp.7-13; revised version published as “Could there be a School of London?”, Art International, Paris, pp.7-21]; “Francis Bacon: the self portrayed”, pp.226-230 [previously published in Reflections on the self: From Dürer to Struth, catalogue of an exhibition at Christie’s Mayfair, London, 2015, pp.51-57]; “A closer look at Lucian Freud”, pp.231-236 [previously published as “Lucian Freud” in Art International, Lugano, Jan.-Mar. 1983, pp.102-106]; “Frank Auerbach in chiaroscuro”, pp.237-239 [previously published as “Scrapes with success” in Literary Review, May 2015, pp.31-32]; “Memories of David Hockney”, pp.240-247 [French version published as David Hockney: souvenirs, 2017]; Acknowledgements, p.249; Essay sources, pp.250-254) [each essay is preceded by a brief new introduction explaining the context of its original publication].
Exhibition catalogues
“The valves of sensation” [on Francis Bacon’s Triptych Inspired by the Oresteia of Aeschylus, 1981], in catalogue of Sotheby’s, New York, Contemporary Art Evening Auction, 15 June 2020; at https://www.sothebys.com/en/articles/the-valves-of-sensation.
[Exhibition]: Painting heads: Frank Auerbach, Tony Bevan; with an introduction and four interviews by Michael Peppiatt, catalogue of exhibition curated by MP, titled ‘Frank Auerbach / Tony Bevan: What is a head?’ at Ben Brown Fine Arts, London, 7 Dec. 2020 – 1 May 2021; Ben Brown Fine Arts, Hong Kong, 15 May – 3 July 2021. London; Hong Kong; Palm Beach: Ben Brown Fine Arts, 2022 – see entry for catalogue, published in 2022.
Audiovisual
“Bacon / Giacometti: a dialogue”, 30m. interview with Jessica Phillimore on the book Bacon / Giacometti: a dialogue, [2020], at Dellasposa Gallery, London,
https:// youtube.com/watch?v=JaxzoOm3e-k
2021
Books
Conversations avec Adrian Ghenie, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 2021; 96p. Previously published in English as “Adrian Ghenie in conversation with Michael Peppiatt” [“This initial interview took place at a flat in Holland Park, London.” – p.82], in Adrian Ghenie: paintings 2014-19, Berlin: Hatje Cantz Verlag, 2020, pp.81-88, 119-124, 149-154.
Francis Bacon: studies for a portrait: essays and interviews. London: Thames and Hudson, 2021 (“revised and updated” paperback edition of book originally published by Yale University Press in 2008: “In this brave, new venture, we have updated and emended all the essays while adding four more recent texts as well as short commentaries on five individual paintings.” – p.8); 288p, 8p of colour plates, 7 black & white illustrations in the text (Contents: Preface to the revised edition, pp.7-8; Introduction, pp.9-13; text pp.14-261; Notes, pp.263-275; Picture credits, p.276; Acknowledgements, p.277; Index, pp.278-288) (Texts added to the 2021 edition: “Bacon and Picasso”, pp.44-48 [previously published as “Bacon/Picasso, Paris” The Burlington Magazine, May 2005, pp.345-346]; “Francis Bacon and Shakespeare”, pp.159-165 [French version previously published as “Francis Bacon et William Shakespeare” in Bacon en toutes lettres, catalogue of an exhibition at Centre Pompidou, Musée national d’art moderne, Paris, 2019-2020, pp.188-192; English version previously published as “Francis Bacon and William Shakespeare” in Francis Bacon: Books and painting, 2019, pp.188-192]; “Francis Bacon in Paris” [previously unpublished], pp.177-183; Reflections on Francis Bacon’s late work” [previously unpublished], pp.234-251. Commentaries on individual paintings: “After Picasso, ‘La Danse’, 1933”, pp.49-50; “Four studies for a self-portrait, 1967”, pp.155-158; “Study of George Dyer”, 1971, p.184; “Seated figure, 1974, pp.185-186; “Two figures, 1975”, pp.230-233). Chinese edition published by Gingko (Shanghai) Book Co. Ltd., Shanghai, 2022; 378p.
Only too much is enough: Francis Bacon in his own words; Edited and introduced by Michael Peppiatt. London: ERIS, an imprint of Urtext, 2021; 79p. (Text by MP: Introduction, pp.7-10.); reprinted in Francis Bacon: a self-portrait in words: statements, letters, studio notes, and selected interviews, 2024, pp.58-64.
Exhibition catalogues
“Francis Bacon: Man and beast”, in Francis Bacon: Man and beast, catalogue of an exhibition co-curated by MP, Anna Testar & Sara Lea, assisted by Isabella Boorman, at the Royal Academy of Arts, London, scheduled to take place on 30 Jan. – 18 Apr. 2021 but postponed to 29 Jan. – 17 Apr. 2022 [“This catalogue was created in extraordinary times, to accompany an exhibition of the same title that had been scheduled to take place in the Main Galleries of the Royal Academy of Arts from 30 January until 18 April 2021. However, vital lockdown measures to limit the spread of Covid-19 meant that the Royal Academy had to close its doors during this period. At the time of this book’s publication, the exhibition has been postponed until a later date.” – p.(4)]. London: Royal Academy of Arts, 2021; 189p., 126 illus. (104 col.); pp.12-37; French edition of catalogue published as Francis Bacon: l’homme et la bête by Mercator Fonds, Brussels, 2021; French translation published as Francis Bacon: l’homme et la bête, traduit de l’anglais par Patrice Cotensin, Paris: L’Échoppe, 2024.
Audiovisual
“Michael Peppiatt: what is a head?”, 28 min. interview with Robert Bound on the occasion of exhibition ‘Frank Auerbach / Tony Bevan: What is a head?’ at Ben Brown Fine Arts, London, 2020-2021 in series “Monocle on Culture”, episode 494, on Monocle Radio, London, 29 Mar. 2021.
2022
Periodicals
Andrew Pulver, “Francis Bacon called bullfighting ‘a marvellous aperitif to sex’: artist’s bestial fascination explored in new show at Royal Academy of Arts” [includes interview], The Art Newspaper, London, 26 Jan. 2022.
Exhibition catalogues
Painting heads: Frank Auerbach, Tony Bevan; with an introduction and four interviews by Michael Peppiatt, catalogue of exhibition curated by MP, titled ‘Frank Auerbach / Tony Bevan: What is a head?’ at Ben Brown Fine Arts, London, 7 Dec. 2020 – 1 May 2021; Ben Brown Fine Arts, Hong Kong, 15 May – 3 July 2021. London; Hong Kong; Palm Beach: Ben Brown Fine Arts, 2022; 116p., 56 col. illius. (Contents: “Introduction: What is a head?”, pp.9-12; “An interview with Frank Auerbach, London, 1968”, pp.57-64; “Tony Bevan in conversation with Michael Peppiatt, London, 2008”, pp.69-77 [previously published as “Tony Bevan in conversation with Michael Peppiatt” in Tony Bevan: new paintings, catalogue of an exhibition at Ben Brown Fine Arts, London, 2008, pp.35-40’; reprinted in Interviews with artists, 1966-2011 (2012), pp.76-89]; “Talking to Frank Auerbach, London, 1998”, pp.83-89 [previously published as “Frank Auerbach” (interview), Tate: the Art Magazine, London, Spring 1998, pp.38-41]; “An interview with Tony Bevan, London, 2021”, pp.95-109”; “About Frank Auerbach”, “About Tony Bevan”, p.115”).
[Exhibition]: “Francis Bacon: man and beast”, in Francis Bacon: man and beast, curators: Michael Peppiatt, Anna Testar, Sarah Lea, assisted by Isabella Boorman, catalogue of an exhibition at Royal Academy of Arts, London scheduled to take place on 30 Jan. – 18 Apr. 2021, postponed to 29 Jan. – 17 Apr. 2022 – see entry for catalogue published in 2021.
“Triptych 1986-7”, in Francis Bacon: ‘Triptych 1986-7’, catalogue for auction 20661 at Christie’s, London, 1 Mar. 2022 (viewing 23-28 Feb. 2022). London: Christie’s, 2022, pp.85-122; at https://www.christies.com/en/lot/lot-6358429
“Interview with Adrian Ghenie”, in Flesh and soul: Bacon / Ghenie (parallel English/Chinese text), catalogue of an exhibition [at the Hong Kong Convention and Exhibition Centre,] presented by Christie’s Hong Kong and HomeArt, [21-29 May 2022; Boontheshop, Cheongdam, Seoul, 3 – 5 Sept. 2022]. Hong Kong: Christie’s; HomeArt, 2022, pp.13-21, 32-35, 40-45, 56-59, 70-73, 82-84 (Adrian Ghenie volume). Extract from “Interview with Michael Peppiatt” previously published in Adrian Ghenie: Paintings 2014-19, Berlin: Hatje Cantz Verlag 2020, pp.81-88, 119-124, 149-154; French version published as Conversations avec Adrian Ghenie. Paris: L’Échoppe, 2021.
“Francis Bacon and Henrietta Moraes”, in Francis Bacon: Three Studies for Portrait of Henrietta Moraes, 1963, catalogue of auction at Sotheby’s, London, 13 Oct. 2022; at https://www.sothebys.com/en/articles/francis-bacon-and-henrietta-moraes.
Audiovisual
“Behind ‘Francis Bacon: man and beast’”, 7 minute interview on the occasion of exhibition at the Royal Academy of Arts, London, in The Standard podcast ‘The Leader’, 31 Jan. 2022.
[participated in] Free Thinking: The Barbican, art and writing in 50s Britain on BBC Radio 3, 2 Mar. 2022, presented by Lisa Mullen, with Elain Harwood & Beryl Pong, produced by Jayne Egerton; on genome.ch.bbc.co.uk.
2023
Books
Artists’ lives. London, New York: Thames & Hudson, 2023; 304p, 27 black & white illustrations in the text. (Contents: Introduction, pp.9-19; “Vincent van Gogh: between shadow and the sun”, pp.20-35 [French version previously published as “Vincent van Gogh: ombres et lumières” in Jeanne Bouniort, MP, Vincent van Gogh, Paris: SCEREN-CNDP, 2003, ‘Actualité des Arts Plastiques’ collection, pp.xxxx]; “Aristide Maillol and the Red Count”, pp.36-49 [Spanish version previously published “Arístides Maillol y el conde rojo”, in Maillol, catalogue of an exhibition co-curated by Bertrand Lorquin & MP at Sala de exposiciones de Caixi Catalunya, Barcelona, 2009-2010. Barcelona: Caix Catalunya, 2009, pp.64-75]; “The darker side of Pierre Bonnard”, pp.50-54 [previously published in Réalités (édition anglais), Apr. 1967, pp.xxxx]; “Aubrey Beardsley’s brief brilliance”, pp.55-57 [previously published as “Aubrey Beardsley: the deadly nightshade that bloomed in Granny’s parlour” in Réalités (édition anglais), 1966, pp.54-61]; “Picasso’s trousers”, pp.62-65 [previously published in The Journal (Mr. Porter, London), 9 Oct. 2012, pp.xxxx]; “Joan Miró: a painter among poets”, pp.66-77 [German version previously published as “Joan Miró: ein Maler under Dichtern” in Miró : Malerei als Poesie, catalogue of an exhibition at Bucerius Kunst Forum, Hamburg, 2015; Kunstsammlung Nordrhein-Westfalen, Düsseldorf,2015, pp.10-19]; “Talking to Sonia Delaunay”, pp.78-83 [previously published as “Sonia Delaunay”, Art International, Dec. 1973, pp.18-19, 75]; “Christian Schad’s portraits of the 1920s”, pp.84-95 [previously published as “Christian Schad: portraits of the 1920s” in Christian Schad and the Neue Sachlichkeit, catalogue of an exhibition at Neue Galerie, New York, 2003, pp.43-50]; “A tribute to Dora Maar”, pp.96-100 [previously published as ‘Dora Maar [obituary]’, The Independent, London, 2 Aug. 1997, p.14]; “Alice Bellony-Rewald: portrait of a muse”, pp.101-107 [previously published as “Picasso talked soup with her. Poliakoff serenaded her. Giacometti even drew her. But above all they confided in her: Michael Peppiatt meets Alice Bellony-Rewald, artists’ muse”, The Guardian, London, 30 Dec. 1996, pp.A16-A17]; “John Richardson: the Sorcerer’s Apprentice”, pp.108-113 [previously published as “Trompe l’oeil: John Richardson’s memoir revisits his years with Douglas Cooper in the South of France” [review of The sorcerer’s apprentice: Picasso, Provence and Douglas Cooper by John Richardson], New York Times Book Review, New York, 12 Dec. 1999, p.8]; “Henri Michaux: painter-poet”, pp.114-129 [previously published as “Henri Michaux: painter poet], Art International, 20 Jan. 1972, pp.28-33, 36]; “Jean Dubuffet’s war with culture”, pp.130-134 [previously published as “Inside every museum there’s a Dubuffet struggling to get out”, Réalités (édition anglaise), Paris, 1967, pp.58-61]; “From Breton to Beckett: the writers in Giacometti’s circle”, , pp.135-151 [unpublished lecture, delivered at the Bucerius Kunstforum, Hamburg, in January 2013]; “Remembering Giacometti: an interview with Jacques Dupin”, pp.152-163 [previously published in In Giacometti’s studio: an intimate portrait, catalogue of an exhibition at Eykyn Maclean LP, New York, 2010, pp.22-26]; “A broken dream of Balthus”, pp.164-175 [previously published in Art International, Apr.-June 1984, pp.7-10, 72]; “The shameful life of Salvador Dalí”, pp.176-181 [previously published as review of The shameful life of Salvador Dalí by Ian Gibson, 1997, New York Times Book Review, 22 Nov. 1998, p.11]; “Looking back at Nicolas de Staël”, pp.182-188 [previously published as “‘Black A, white E, red I, green U, blue O: vowels, One day I shall reveal your secret birth.’ Arthur Rimbaud, Voyelles”, in Nicolas de Staël, catalogue of an exhibition at Mitchell-Innes & Nash, New York, 2013, pp.7-17]; “Zoran Music: art after Dachau”, pp.189-197 [previously published as “In the silence of time: The art of Zoran Music”, Art International, Aug.-Sept. 1981, pp.169-174; reprinted as “Zoran Mušič: in the silence of time” in The making of modern art: selected writings.(2020), pp.166-169]; “Dado and the atrocity of everyday life”, pp.198-210 [previously published as “Dado: The Zorzi Elegies” in Dado: The Zorzi Elegies, catalogue of the exhibition in the Pavilion of Montenegro, 53rd Biennale di Venezia, 2009. pp.7-31]; “In memoriam: Antonio Tàpies”, pp.211-221 [previously unpublished, text of a lecture delivered at the exhibition Tàpies, Centro Cultural Banco do Brasil, São Paulo, October 2004; the revised text published in the catalogue of the artist’s exhibition in Catanzaro, Calabria,2009, pp.xxxx]; “The paradox of Francis Bacon”, pp.222-226 [previously published as “Portrait of a paradox: Bacon was both cruel and incredibly kind, says biographer Michael Peppiatt”, The Sunday Times, 14 Sept. 2008, pp.9-11]; “The legacy of genius: Van Gogh and Francis Bacon”, pp.227-242 [previously published in Vincent van Gogh and Expressionism, catalogue of an exhibition at Neue Galerie, New York, 2007; Ostfildern: Hatje Cantz Verlag, 2007, pp.63-74; reprinted in Francis Bacon: studies for a portrait: essays and interviews, 2008, pp.150-165]; “Bacon / Giacometti: parallel visions of a terrible truth”, pp.243-265 [“This essay is a considerably enlarged and revised version of the text that I published in the catalogue for the Bacon / Giacometti exhibition that took place at the Fondation Beyeler (Riehen/Basel) in Switzerland in 2018 (pp.168-174). A similar version was first published, in a translation into French by Patrice Cotensin, by L’Échoppe in Paris in 2019.” – p.265]; “Lucian Freud’s Large Interior, W11 (after Watteau)”, pp.266-277 [French vedrsion previously published as “Lucian Freud: à l’intérieur d’une oeuvre”, Connaissance des Arts, Mar. 1984, pp.44-50; French version reprinted with a new introduction by L’Échoppe, Paris, 2010]; “Raymond Mason confronts the torrent of life”, pp.278-288 [previously published with French translation as ”Raymond Mason” in Raymond Mason, catalogue of an exhibition at Fondation Dina Vierny-Musée Maillol, Paris, 2000, pp.9-23]; “R.B. Kitaj: paintings as novels”, pp.289-296 [French version previously published as “R.B. Kitaj: le tableau comme un roman”, Connaissance des Arts, Paris, Sept. 1981, pp.36-43]; Picture credits, p.297; Acknowledgements, p.298; Index of names, pp.299-304). Paperback edition, London, New York: Thames & Hudson, 2024; 304p., 27 black & white illustrations in the text.
Giacometti in Paris. London: Bloomsbury Publishing, 2023; [v], 371p., 53 black & white illustrations in the text. (Contents: Introduction, pp.1- 13; text, pp.15-341; Envoi, pp.343-344; Notes, pp.345-354; Index, pp.355-364; Acknowledgements, pp.365-366; Illustration credits, pp.367-368; A note on the author, p.[369]; A note on the type, p.[371]). Paperback edition, London: Bloomsbury Publishing, 2024; 369p., 53 black & white illustrations in the text.
2024
Books
Francis Bacon: a self-portrait in words: statements, letters, studio notes, and selected interviews; edited, introduced, and annotated by Michael Peppiatt; foreword by Colm Tóibín. London; New York: Thames & Hudson, 2024; 480p., 188 illus. (158 in colour) in the text (incl. facsimiles of letters, postcards, etc.) (Contents: Foreword by Colm Tóibín, pp.6-7; Introduction, pp.8-14; Note on the text, p.15; text, pp.16-473; Acknowledgements, p.474; Picture credits, pp.475-476; Index, pp.477-480) (Texts by MP: “On intuition and sensation”, pp.26-27 [from interview with MP, 1964]; “Statements to Michael Peppiatt”, pp.58-64 [‘On art’, ‘On literature’, ‘On life’, ‘On love’] [“These statements were noted by Michael Peppiatt over the course of his friendship with Bacon between 1963 and 1992. They were first published in Only too much is enough: Francis Bacon in his own words (London: Eris, 2021)” – p.64]; Letters to Michael Peppiatt, pp.300-307 [1974-1987 & undated; includes facsimiles of letters, pp.302-303, 305]).
Francis Bacon: l’homme et la bête, traduit de l’anglais par Patrice Cotensin. Paris: L’Échoppe, 2024; 93p. Previously published in English as “Francis Bacon: Man and beast”, in Francis Bacon: Man and beast, catalogue of an exhibition at the Royal Academy of Arts, London, scheduled to take place in 2021 but postponed to 2022, pp.12-7.
Exhibition catalogues
“Conversations at night”, in Francis Bacon, catalogue of an exhibition at Museu de Arte de São Paulo Assis Chateaubriand, 22 Mar. – 28 July 2024, pp.228-243. Excerpt from Francis Bacon in your blood : a memoir (2015), pp.88-100.
“Francis Bacon and his muse, George Dyer”, in Francis Bacon: Portrait of George Dyer Crouching, 1966, catalogue for auction at Sothebys, New York, 13 May 2024; at https://www.sothebys.com/en/articles/francis-bacon-and-his-muse-george-dyer-1
Audiovisual
“Michael Peppiatt – Francis Bacon: a self-portrait in words and Giacometti in Paris”, 62 min. interview on 4 June 2024 at 192 Books, New York, presented by 192 Books & Paula Cooper Gallery, New York, recorded by PCG-Studio, at https://m.youtube.com/watch?v=ul9LrKlpnIA
“Francis Bacon: Self-Portrait with Injured Eye”, on the occasion of exhibition Portraits: Essence and Expression at Centro Botín, Santander, 23 Nov. 2024 – 27 Apr. 2025, at https://www.centrobotin.org/en/francis-bacon-self-portrait-with-injured-eye/
2025
Periodicals
Bengt Magnusson, “Legendarisk överblick: Den engelska konstkritikens nestor Michael Peppiatt saknar inte åsikter om dagens konst. Bengt Magnusson träffade 84-åringen i hans hem i London för ett samtal” [interview with MP, recorded on 16 Oct. 2024], Konstperspektiv, Limhamn, no.1, [20 Feb.] 2025, pp.38-40.
Exhibition catalogues
“Introduction”, in Once upon a time in London, catalogue of an exhibition at Saatchi Yates, London, 12 June – 17 Aug. 2025. London: Saatchi Yates, 2025, pp.6-12.
2026
Periodicals
“Art collecting becomes a self-portrait: Clio Peppiatt talks with her father Michael Peppiatt, the English art historian, critic and curator, about his eclectic art collection and his relationship with artists over the years”, TLmag, Brussels, no.41, 2026, pp.122-128.
Exhibition catalogues
“Zoran Music: interviews, 1988-1998” [interviews previously published as “Zoran Music: Inspired by Dachau” in Art International, Spring 1988, pp.22-27; “Entretien avec Zoran Music” in Zoran Music, catalogue of an exhibition at Galeries nationales du Grand Palais, Paris, 1995, pp.227-229; & interview from 1997-1998 first published in Zoran Music: entretiens 1988-1998, L’Échoppe, Paris, 2000], in Zoran Music:The Zurich Room: works and studio, catalogue of an exhibition at Palazzo Attems Petzenstein, Gorizia, 25 May – 2 Nov. 2026, pp.215-231 (catalogue also published in separate Slovenian & Italian editions).
undated
“The painter in his frame” [interview with Pierre Soulages during visit to his house in Sète], Réalités XXXX, pp.82, 84 (as Michael Henry).
“Paris: The art of the critic” [review of exhibition on Jean Paulhan at the Grand Palais, the Frits Lugt collecton at the Dutch Cultural Institute, and Super-realism at the Musée d’art moderne de la Ville de Paris], Art News, New York, XXXX 1974, p.84.
“A passion for painting” [on the occasion of exhibition of work by Nicolas de Staël in Paris], Connaissance des Arts, Paris, XXXX, pp.78-83.
“The (hard) stones of Florence” [on contemporary pietre dure], Town & Country, New York, XXXX, p.108 (as Michael Henry).
“The quality are selling their cellars”, Réalités (édition anglaise), Paris, XXXX, pp.66-69.
“How can an ostrich hide its hed in the yolk of an eighteenth-century German egg? The answer could perhaps be in a concrete poem. By Michael Henry.”, Réalités (édition anglaise), Paris, XXXX, pp.84-85.
“Réalités Author of the Month: Michel Leiris’ ‘La règle du jeu’”, Réalités (édition anglaise), Paris, XXXX, pp.96-99, 106 (unsigned).
“The song of Chinese blues: the story of a lyrical art form that took Europe by storm”, Réalités (édition anglaise), Paris, XXXX, pp.60-65, 99.
“Saints in the sanctuaries of Alsace”, Réalités (édition anglaise), Paris, pp.52-57 (as Jonathan White).
“The smooth sleuth: Charles Garnett can track down a scarce sconce or a recalcitrant Récamier for you in no time – just ask”, Town & Country, New York, XXXX, p.104.
“The ten thousand silken poems of Ch’i Pai-shih”, Réalités (édition anglaise), Paris, XXXX, pp.60-63.
“Is Welles drying up” [on the film ‘Chimes at Midnight’], Réalités (édition anglaise), Paris, XXXX, pp.74-77 (as Jonathan White).
“Americans in Europe: John Clark” [interview], XXXX, pp.74-75
“Paris theatre: Les petits riens”, Financial Times, London, XXXX.
“Does the Living Theatre give the kiss of death?”, XXXX, pp.84-89.
“Art Déco masterpiece in the Basque Country”, AD France, undated
“The French consulate in New York”, AD France, undated