искусстве очень условны и изменчивы. Художники вдруг исчезают, как Фрейд в конце пятидесятых и в шестидесятые, и возвращаются, как он вернулся в восьмидесятые и девяностые.
* * *
Когда в 1976 году Китай впервые употребил выражение «Лондонская школа», за него немедленно ухватились, как он вспоминал потом. Одни пытались как-то описать Лондонскую школу, другие отрицали ее существование. Как мы видели, объединяющего фактора не было. Все главные художники Лондона были яркими индивидуальностями, оригиналами и бунтарями, даже если и относились к модернистам. Ясно, что случались пересечения и наложения – социальные, стилистические, по темпераменту, – что порой нарушались границы между фигуративным и нефигуративным. Иные художники, в частности Ауэрбах и Ходжкин, плодотворно творили в пограничной зоне.
Однако это ничуть не противоречит главному. Взглянув со стороны, Китай проницательно заметил: «Я оказался в городе, где работают замечательные художники; я считаю, что видел много интересного». Надеюсь, читатель согласится, что он совершенно прав.
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