“When I finished ‘The Lost Boys,’ I stood back and said, ‘This is the kind of painting I always imagined myself making,’” Marshall recalled to The New Yorker. “It seemed to me to have the scale of the great history paintings, mixed with the rich surface effects you get from modernist painting. I felt it was a synthesis of everything I’d seen, everything I’d read, everything that I thought was important about the whole practice of painting and making pictures.”
Comments