1.Johnson had uttered the dismissal before, but, for the record, he used the phrase in an informal talk at the School of Architectural Design, on December 7, 1954. See “The Seven Crutches of Modern Architecture” (1955), reprinted in Johnson, Philip Johnson (1979), 140.
2.James Reese Pratt, quoted in Welch, Philip Johnson & Texas (2000), 32.
3.Holiday, August 1952, quoted in Earls, Harvard Five (2006), 137.
4.Stern, “Encounters with Philip Johnson: A Partial Memoir,” in Johnson, Philip Johnson Tapes (2008), 8.
5.Filler, Makers of Modern Architecture (2007), 125.
6.H. I. Phillips, “The Sun Dial,” New York Sun, January 7, 1949.
7.Rodman, Conversations with Artists (1961), 70; and Selden Rodman Papers, Yale University.
8.Henry S. F. Cooper, “Sound and Fury,” Yale Daily News, September 22, 1955, 2. Variant versions survive of the Yale evening of September 20, 1955, but I tend to hew to Cooper’s since it was published just two days after the events. Others who have told the tale include Vincent Scully and Selden Rodman, as cited. Cooper also recounted added details for Meryle Secrest in a much later interview for her Frank Lloyd Wright (1992); see 544–45.
9.Scully, “Frank Lloyd Wright and Philip Johnson at Yale” (1986), 94.
10.Rodman Papers.
11.Yale Daily News, September 21, 1955.
12.Rodman, “Series II: Journals,” Rodman Papers.
13.“Exploring Wright Sites in the East,” Frank Lloyd Wright Quarterly 7, no. 2 (Spring 1996).
14.Tafel, About Wright (1993), 53.
15.Rodman, Conversations with Artists (1961), 47.
1.FLW to Lewis Mumford, ca. June 1930, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
2.Lewis Mumford, “The Poison of Good Taste,” American Mercury (1925), 92.
3.FLW to Lewis Mumford, August 7, 1926, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
4.Lewis Mumford to FLW, August 23, 1926, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
5.Mumford, Sticks and Stones (1924), 13, 140.
6.Wright, “In the Cause of Architecture” (1914), 406.
7.Mumford, Sketches from Life (1982), 432.
8.Wright, Autobiography (1943), 165, 167.
9.Ibid., 190.
10.Mumford, Sketches from Life (1982), 432–33.
11.FLW to Lewis Mumford, undated (fall 1929?), in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
12.Mumford, Sketches from Life (1982), 433.
13.FLW to Mumford, August 7, 1926.
14.FLW to Fiske Kimball, April 30, 1928, Fiske Kimball Papers, Philadelphia Museum of Art.
15.Mumford, Sketches from Life (1982), 433.
16.Thomson, Virgil Thomson (1966), 220.
17.Barr to Dwight Macdonald, 1953, quoted in Kantor, Alfred H. Barr, Jr. (2002), 91.
18.Johnson, Philip Johnson Tapes (2008), 24.
19.Schulze, Philip Johnson (1994), 43.
20.Alfred H. Barr to Katherine Gauss, December 23, 1921, Archives of American Art.
21.Macdonald, “Action on West Fifty-Third Street” (December 12, 1953), 81.
22.Interview with Philip Johnson. Tomkins Papers, MoMA Archives.
23.Hitchcock, “Architectural Work of J. J. P. Oud” (1928), 97, 98, 102.
24.Alfred H. Barr to Paul Sachs, August 3, 1925, Sachs Papers, Harvard Art Museum Archives.
25.Kantor, Alfred H. Barr, Jr. (2002), 92.
26.Barr to Dwight Macdonald, 1953, quoted in Kantor, Alfred H. Barr, Jr. (2002), 102.
27.Ibid., 105.
28.Hitchcock, “Modern Architecture” (1968), 229.
29.Hitchcock, Modern Architecture (1929), 106.
30.Barr, “NECCO Factory” (1928), 292–95.
31.Calvin Tomkins, “The Art World: Alfred Barr,” New Yorker, November 16, 1981, 184.
32.Alfred H. Barr Jr., “A Modern Art Questionnaire,” Vanity Fair 28 (August 1927): 85, 96–98.
33.Ada Louise Huxtable to Calvin Tomkins, 1977, Tomkins Papers.
34.PJ quoted in Tomkins, “Forms Under Light” (1977), 47.
1.FLW to Alexander Woollcott, January 13, 1932, Woollcott Papers, Houghton Library, Harvard University.
2.Adams, A. Woollcott (1945), 23.
3.Wright, Autobiography (1943), 39.
4.Ibid., 25.
5.Alexander Woollcott to Frank Lloyd Wright, December 3, 1927. Woollcott Papers.
6.Woollcott, “Prodigal Father” (1930), 24, 25.
7.Wright, Autobiography (1943), 171.
8.Woollcott, “Prodigal Father” (1930), 25.
9.Wright, Autobiography (1943), 259.
10.Ibid., 260.
11.Ibid., 263.
12.Woollcott, “Prodigal Father” (1930), 25.
13.Wright also had left Silsbee’s practice with a taste for Japanese prints like those displayed on the office walls, which had been selected by Ernest Francisco Fenollosa, an orientalist and Silsbee cousin.
14.Modern Architecture: International Exhibition (1932), 31.
15.“Surface and Mass–Again!,” Architectural Record, July 1929, reprinted in Wright, Frank Lloyd Wright Collected Writings (1992), 1:325.
16.Woollcott, “Prodigal Father” (1930), 25.
17.Ibid., 22.
18.Ibid.
19.Adams, A. Woollcott (1945), 310.
20.Alexander Woollcott to FLW, September 15, 1937, in Woollcott, Letters of Alexander Woollcott (1944), 193.
21.Secrest, Frank Lloyd Wright (1992), 374.
22.John Howe and Herbert Fritz interviews with Meryle Secrest, in Secrest, Frank Lloyd Wright (1992), 397.
23.FLW to Alexander Woollcott, January 1, 1929, Woollcott Papers.
24.Woollcott, “Prodigal Father” (1930), 25.
25.Lewis Mumford to FLW, July 1, 1930, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
26.Lewis Mumford, Brown Decades (Mineola, NY: Dover, 1931, 1971), 75.
27.PJ quoted in Miller, Lewis Mumford (1989), 487.
1.Johnson, Philip Johnson Tapes (2008), 142n19.
2.PJ to Mrs. Homer Johnson, July 22, 1926. This letter and Johnson’s correspondence with his mother, family, and friends as cited hereafter are in the Philip Johnson Papers, Special Collections, Getty Research Institute.
3.PJ to Mrs. Homer H. Johnson, June 20, 1930.
4.PJ to Alfred H. Barr, October, 16, 1929, Barr Papers, Archives of American Art.
5.PJ to Louis Johnson, October 3, 1929.
6.PJ to “Dear family,” November 18, 1929.
7.Schulze, Philip Johnson (1994), 54.
8.Johnson, “Whence and Whither” (1965), 168.
9.J. B. Neumann to Alfred H. Barr Jr., quoted in Roob, “Alfred H. Barr, Jr.” (1987), 13.
10.Roob, “Alfred H. Barr, Jr.” (1987), 12.
11.Alfred H. Barr Jr., “Modern Art in London Museums,” Arts 14 (October 1928): 190.
12.Meyer, What Was Contemporary Art? (2013), 93.
13.Barr, “Dutch Letter” (1928), 48.
14.PJ to “Dear family,” July 28, 1929.
15.PJ to Louise Johnson, September 22, 1929.
16.PJ to Alfred H. Barr, October 16, 1929, Barr Papers, Archives of American Art.
17.PJ to Louise Johnson, September 22, 1929.
18.Barr, “Dutch Letter” (1928), 49.
19.Walter Gropius, Program of the Staatliche Bauhaus (Weimar), in Kantor, Alfred H. Barr, Jr. (2002), 153.
20.Barr, “Preface,” in Herbert Bayer et al., Bauhaus, 1919–1928 (New York: MoMA, 1938).
21.Card postmarked October; see Schulze, Philip Johnson (1994), 55.
22.PJ letter to Alfred H. Barr, October 16, 1929, Barr Papers, Archives of American Art.
23.PJ to Louis Johnson, November 8, 1929.
24.Alfred H. Barr to Paul Sachs, July 1, 1929, quoted in Kantor, Alfred H. Barr, Jr. (2002), 189.
1.A. Conger Goodyear, in Lynes, Good Old Modern (1973), 9.
2.Barely a decade later, the towering Rockefeller residence would be demolished. In its place the Abby Aldrich Rockefeller Sculpture Garden would be installed, in 1953, a Philip Johnson–designed space on the north side of what had, by then, become MoMA’s permanent home.
3.Story recounted in Lynes, Good Old Modern (1973), 4ff.
4.Barr, Painting and Sculpture (1967), 620.
5.Roob, “Alfred H. Barr, Jr.” (1987), 19.
6.Ibid.
7.Mrs. Alfred H. Barr to Calvin Tomkins, June 2, 1976, Tomkins Papers.
8.Riley and Sacks, “Philip Johnson: Act One, Scene One—the Museum of Modern Art?,” in Petit, Philip Johnson (2009), 60.
9.Margaret Scolari Barr, in Tomkins, “Forms Under Light” (1977), 47.
10.Filler, “Philip Johnson: Deconstruction Worker” (1988), 105.
11.Hitchcock, “Modern Architecture” (1968), 227.
12.Searing, “Henry-Russell Hitchcock” (1990).
13.Hitchcock, “Modern Architecture” (1968), 229. The benefactor was James Thrall Soby, the year 1935.
14.Lynes, Good Old Modern (1973), 85–86.
15.PJ to Louise Johnson, August 6, 1930.
16.PJ to Louise Johnson, July 7, 1930.
17.Barr, “Modern Architecture” (1930), 435.
18.PJ to Louise Johnson, June 1930.
19.Miës van der Rohe, lecture at the Vienna Werkebund conference (1930), quoted in Wolf Tegethoff, “A Modern Residence in Turbulent Times,” in Hammer-Tugendhat and Tegethoff, Ludwig Miës van der Rohe (2000), 46.
20.Philip Johnson to Louise Johnson, September 1, 1930.
21.Blake, Master Builders (1960), 203.
22.Grete Tugendhat, “On the Construction of the Tugendhat House,” an address given in Brno, Czech Republic, on January 17, 1969, reprinted in Hammer-Tugendhat and Tegethoff, Ludwig Miës van der Rohe (2000), 5.
23.Hammer-Tugendhat, “Living the Tugendhat House,” in Hammer-Tugendhat and Tegethoff, Ludwig Miës van der Rohe (2000), 12.
24.Tugendhat, “On the Construction of the Tugendhat House,” 5.
25.Ibid., 6.
26.Interview with Philip Johnson, Tomkins Papers.
27.Blake, Master Builders (1960), 155.
28.Modern Architecture: International Exhibition (1932), 116.
29.Ibid., 116.
30.Schulze and Windhorst, Miës van der Rohe (2012), 205.
31.Johnson, “Whence and Whither” (1965), 172.
32.PJ to Henry-Russell Hitchcock, September 2, 1930, Hitchcock Papers, Archives of American Art.
1.Stern, Gilmartin, and Mellins, New York 1930 (1987), 469.
2.Minutes of meeting of the Modern Architectural Exhibition committee, January 17, 1931, Registrar files, Exhibition 15.
3.Barr, “Our Campaigns” (1987), 25.
4.Ms. prepared by Mrs. Alfred H. Barr Jr. for Calvin Tomkins, attachment to letter of June 2, 1967, Tomkins Papers.
5.Riley, International Style (1992), 18.
6.Modern Architecture: International Exhibition (1932), 13.
7.Interview with Kantor, Alfred H. Barr, Jr. (2002), 291.
8.Ms. prepared by Barr for Tomkins.
9.PJ to Louise Johnson, August 6, 1930.
10.PJ to Alfred Barr, undated letter, Registrar files, Exhibition 15.
11.Registrar files, Exhibition 15.
12.Minutes of meetings of the Modern Architectural Exhibition committee, January 17 and 24, 1931, Registrar files, Exhibition 15.
13.Johnson, Built to Live In (1931), reprinted in Johnson, Philip Johnson: Writings (1979), 28–31.
14.Douglas Haskell, “The Column, the Globe, and the Box,” Arts 17 (June 1931): 636–39.
15.Rejected Architects (1931), reprinted in Riley, International Style (1992), 215.
16.New York Times, April 26, 1931.
17.Helen Appleton Read, Brooklyn Eagle, quoted in Stern, George Howe (1975), 153n35.
18.Rejected Architects (1931), 433–35.
19.Lewis Mumford to FLW, March 29, 1931. Frank Lloyd Wright’s letters, telegrams, and other correspondence were consulted on microfiche, as published by the Frank Lloyd Wright Foundation, Scottsdale, together with the accompanying index, Frank Lloyd Wright: An Index to the Taliesin Correspondence, ed. Anthony Alofsin (N.Y.: Garland, 1988). Unless otherwise specified, the Wright letters and other documents cited here and below are found in that collection.
20.PJ to FLW, April 1, 1931.
21.FLW to PJ, April 3, 1931.
22.PJ to Lewis Mumford, January 3, 1931, Mumford Papers, University of Pennsylvania.
23.“peut-être le plus grand Américain du premier quart du XX siècle”: Hitchcock, Frank Lloyd Wright (1928).
24.Hitchcock, “Modern Architecture” (1968), 230.
25.Wright did hold out some hope for Hitchcock in a more temperate moment: “You know, Lewis, I am sorry I called poor Hitchcock a fool … He is at least sincere. What if he doesn’t know? He may learn.” FLW to Lewis Mumford, December 17, 1930.
26.FLW to Lewis Mumford, April 7, 1931, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
27.Fistere, “Poets in Steel” (1931), 58.
28.FLW to Mumford, April 7, 1931.
29.PJ to FLW, April 30, 1931.
30.PJ to FLW, May 22, 1931.
1.Alfred H. Barr to PJ, August 19, 1931, quoted in Riley, International Style (1992), 52.
2.PJ to Alan Blackburn, August 15, 1931, quoted in Riley, International Style (1992), 56.
3.PJ to FLW, December 14, 1931.
4.FLW to PJ, telegram of January 3, 1932, and letter fragment of January 5, 1932.
5.FLW telegram to PJ, January 18, 1932.
6.FLW to PJ, January 19, 1932.
1.PJ telegram to FLW, February 4, 1932.
2.Riley, International Style (1992), 75; and Barr, “Our Campaigns” (1987), 23.
3.Riley, International Style (1992), 92.
4.Modern Architecture: International Exhibition (1932), 12–17.
5.Douglas Haskell, “Architecture: What the Man About Town Will Build,” Nation, April 13, 1932, 441–43.
6.Mumford, “Sky Line: Organic Architecture” (1932), 49.
7.William Adams Delano, “Man Versus Mass,” Shelter 2 (May 1932): 12.
8.PJ to J. J. P. Oud, March 17, 1932.
9.New York Sun, February 13, 1932.
10.Wright, “The House on the Mesa/The Conventional House,” in Wright, Frank Lloyd Wright Collected Writings (1993), 3:128. Italics added.
11.FLW, “The Disappearing Cave,” quoted in Denver Post, December 14, 1930, 2; quoted in Wojtowicz, “A Model House” (2005), 523.
12.Wright, “In the Cause of Architecture” (1925), reprinted in Wright, Frank Lloyd Wright Collected Writings (1992), 1:212.
13.FLW to Lewis Mumford, July 7, 1930. Full quote: “though pupil, I think I was never his disciple. (It is the disciple who is hindered by his master.) Sullivan is on the record as gratefully acknowledging this.”
14.Scully, “Wright vs. the International Style” (1954), 34.
15.Hitchcock and Johnson, International Style (1932), 25–26.
16.“Modern Architecture Exhibition by Museum of Modern Art,” undated draft in Registrar files, MoMA Archives.
17.Hitchcock and Johnson, International Style (1932), 38.
18.Ralph Flint, “Present Trends in Architecture in Fine Exhibit,” Art News, February 13, 1932, 5.
19.Modern Architecture: International Exhibition (1932), 15.
20.FLW to PJ, February 11, 1932.
21.FLW to PJ, April 19, 1932.
22.Henry-Russell Hitchcock to FLW, April 22, 1932. The text of the letter is in the MoMA Archives, but the original does not appear in the Wright papers, which may indicate Hitchcock never mailed the letter. Regardless, Hitchcock no doubt wished to convey to Wright the scalding sentiments expressed, even if Wright never felt them.
23.PJ to FLW, April 25, 1932.
24.PJ to J. J. P. Oud, April 16, 1932.
25.FLW to PJ, May 24, 1932.
26.FLW, “In the Show Window at Macy’s,” Architectural Forum, November 1933, reprinted in Wright, Frank Lloyd Wright Collected Writings (1993), 3:146.
27.Quoted in Tomkins, “Forms Under Light” (1977).
28.Interview with George Goodwin, July 27, 1992, Archives of American Art.
29.Early Modern Architecture: Chicago, 1870–1910 (1933), 27.
30.Mumford to FLW, January 10, 1932, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001).
31.FLW to Henry-Russell Hitchcock, February 26, 1932.
32.Johnson, Philip Johnson Tapes (2008), 41.
33.Schulze, Philip Johnson (1994), 61.
34.William Wesley Peters, Taliesin Times, quoted in headnote to William Wesley Peters interview in Tafel, About Wright (1993), 156.
35.PJ interview with George Goodwin, July 27, 1992, Archives of American Art.
36.PJ to Louise Johnson, July 7, 1930.
37.Filler, “Philip Johnson: Deconstruction Worker” (1988) 105.
38.FLW to Fiske Kimball, April 30, 1928, in Pfeiffer and Wojtowicz, Frank Lloyd Wright (2001), 51.
39.New York Sun, March 10, 1934.
1.PJ to his family, August 13, 1929. Johnson would later recollect the painting as Manet’s Execution of Maximilian in Mannheim. See Johnson, Philip Johnson Tapes (2008), 49.
2.McAndrew quoted in Lynes, Good Old Modern (1973), 178.
3.PJ to Louise Johnson, September 22, 1929.
4.http://150.vassar.edu/histories/art/.
5.MoMA press release, http://www.moma.org/momaorg/shared/pdfs/docs/press_archives/395/releases/MOMA_1937_0035.pdf?2010.
6.McAndrew to Donald Hoffmann, December 5, 1975, quoted in Hoffmann, Frank Lloyd Wright’s Fallingwater (1978), 91.
7.McAndrew quoted in Lynes, Good Old Modern (1973), 180.
8.Toker, Fallingwater Rising (2003), 31.
9.Ibid., 30.
10.Taliesin Fellowship Prospectus (1932, 1933), in Wright, Frank Lloyd Wright Collected Writings (1993), 3:159–66.
11.David G. De Long, “Kaufmann Family Letters: Edgar Kaufmann jr., Frank Lloyd Wright, and Fallingwater,” in Waggoner, Fallingwater (2011), 174.
12.Caroline Wagner interview, cited in Toker, Fallingwater Rising (2003), 364.
13.Kaufmann, Fallingwater (1986), 36.
14.Wright, Letters to Apprentices (1982), 204.
15.Kaufmann, Fallingwater (1986), 36.
16.Wright, An Autobiography (1943), 151.
17.Henning, “At Taliesin” (1992), 16.
18.E. J. Kaufmann to FLW, August 16, 1934.
19.FLW to E. J. Kaufmann, September 18, 1934.
20.Toker, Fallingwater Rising (2003), 118–19.
21.FLW to E. J. Kaufmann, September 28, 1934.
22.Henning, “At Taliesin,” (1992), November 22, 1934.
23.Kaufmann, Fallingwater (1986), 36.
24.E. J. Kaufmann to FLW, December 4, 1934.
25.E. J. Kaufmann, “To Meet—to Know—to Battle—to Love—Frank Lloyd Wright,” in Reed and Kaizen, Show to End All Shows (2004), 171.
26.Wright, Letters to Clients (1986), 83.
27.Max Putzel, “A House That Straddles a Waterfall,” St. Louis Post-Dispatch Magazine, March 21, 1937, 1, 7. It seems likely that Wright was his source, though Putzel does not cite him.
28.Lewis Mumford, “The Sky Line,” New Yorker, April 27, 1935, 79–80.
29.FLW to E. J. Kaufmann, March 8, 1935, quoted in Hoffmann, Frank Lloyd Wright’s Fallingwater (1978), 14.
30.E. J. Kaufmann to FLW, May 4, 1935, quoted in Hoffmann, Frank Lloyd Wright’s Fallingwater (1978), 15.
31.Ibid.
32.FLW to E. J. Kaufmann, June 15, 1935.
33.FLW, “In the Cause of Architecture I: The Logic of the Plan,” Architectural Record, January 1928, reprinted in Frank Lloyd Wright Collected Writings (1992), 1:249.
34.Samuel Taylor Coleridge, Biographia Literaria (1817).
35.Edgar Kaufmann jr., “La Casa sulla Cascata di F. Lloyd Wright” (1962), reprinted in Brooks, Writings on Wright (1981), 69.
36.Hoppen, Seven Ages of Frank Lloyd Wright (1993), 97.
37.The story of Fallingwater’s paperwork conception has been told often, based upon a number of recollections written by the men who were there, including Edgar Tafel, Bob Mosher, and Cary Caraway (see the notes that follow). The recollections of these witnesses were subject to the vagaries of human memory; written years after the events, the versions, unsurprisingly, don’t agree on every particular. In reconstructing events three quarters of a century later in these pages, it doesn’t help that, at the time, Wright’s dramatic display of designing prowess didn’t so much as merit a mention in the Fellowship’s weekly paper, At Taliesin. But the composite view, as presented, is likely close to the truth.
38.Cary Caraway, interview with Meryle Secrest, in Secrest, Frank Lloyd Wright (1992), 419.
39.Ibid.
40.Wright, An Autobiography (1943), 239.
41.Tafel, Years with Frank Lloyd Wright (1979), 3.
42.Ibid., 7.
43.Bob Mosher letter to Donald Hoffman, January 20, 1974, quoted in Hoffman, Frank Lloyd Wright’s Fallingwater (1978), 17.
44.FLW during talk to Taliesin Fellowship, May 1955, quoted in Frank Lloyd Wright Quarterly 10, no. 3 (Summer 1999): 11.
45.Interview with Hugh Downs, NBC Television, taped on May 8, 1953.
46.Morris Knowles to E. J. Kaufmann, April 18, 1936, in Hoffman, Frank Lloyd Wright’s Fallingwater (1978), 30. Italics added.
47.Hoffman, Frank Lloyd Wright’s Fallingwater (1978), 37.
48.FLW letter and telegram of August 27, 1936.
49.FLW to E. J. Kaufmann, August 31, 1936.
50.The cumulative effect of design flaws, decades of weathering, and natural settlement required a major reconstruction of the cantilevered house (to the tune of almost $12 million) in 2001–2.
51.Neil Levine has written insightfully on this point in relation to Taliesin; see Levine, Architecture of Frank Lloyd Wright (1996), 99.
52.John H. Howe, quoted in Hoffman, Frank Lloyd Wright’s Fallingwater (1978), 26.
53.Putzel, “House That Straddles,” 1, 7.
54.Edgar J. Kaufmann jr. and Liliane Kaufmann to FLW, quoted in Hoffmann, Frank Lloyd Wright’s Fallingwater (1978), 87.
55.Hedrich, Oral history (1992), 82.
56.Ibid., 83.
57.Ibid., 61.
58.Ibid.
59.Ibid., 62.
60.Minutes of Committee Meeting, MoMA Archives.
61.FLW telegram to John McAndrew, January 5, 1938.
62.Time, January 17, 1938.
63.Life, January 17, 1938.
64.Hoffmann, Frank Lloyd Wright’s Fallingwater (1978), 92.
65.McAndrew, Guide to Modern Architecture (1940), 12.
66.Mumford, “The Sky Line: At Home, Indoors and Out” (1938), 59.
67.Ibid., 58.
68.Wright, Architectural Forum, January 1938, 36.
69.Architectural historian Vincent Scully, among others, has written persuasively of Wright’s melding of Internationalism with his own organic architecture; see especially Scully, “Wright vs. the International Style” (1954), 32–35, 64–66. See also the ensuing discussion in the September 1954 issue of Art News, 48–49.
70.Brierly, Tales of Taliesin (1999), 5.
71.Sources conflict on when Wright uttered these words, but since Brierly told Franklin Toker directly that it was on July 3, 1935, I have used their chronology. See Toker, Fallingwater Rising (2003), 140–41; and “Exploring Wright Sites in the East,” Frank Lloyd Wright Quarterly 7, no. 2 (Spring 1996).
72.PJ, “Retreat from the International Style to the Present Scene” (lecture, Yale University, May 9, 1958), reprinted in Johnson, Philip Johnson (1979), 93.
73.Kaufmann, Fallingwater (1986), 56.
74.Johnson, Philip Johnson (1979), 269.
1.Warburg interview with Calvin Tomkins, Tomkins Papers.
2.Schulze, Philip Johnson (1994), 106.
3.Barr, “Our Campaigns” (1987), 34.
4.Johnson, “Architecture in the Third Reich” (1933), 137–39.
5.Dennis, Is Capitalism Doomed? (1932), 85–86.
6.New York Times, December 18, 1934.
7.Johnson, Philip Johnson Tapes (2008), 19.
8.Blodgett, “Philip Johnson’s Great Depression” (1987), 9.
9.Ibid., 6.
10.Philip Johnson to Frau Bodenschatz, December 1939, FBI dossier, in Schulze, Philip Johnson (1994), 139.
11.Shirer, Berlin Diary (1941), 213.
12.Lynes, Good Old Modern (1973), 93.
13.Herald Tribune, December 18, 1934.
14.Sorkin, “Where Was Philip?” (1988), 138, 140.
15.Utley, Odyssey of a Liberal (1970), 265.
16.PJ to Frank D. Welch, January 1993, in Welch, Philip Johnson & Texas (2000), 18.
17.Alfred Barr to Miës van der Rohe, February 11, 1937, Barr Papers, MoMA.
18.Helen Resor to Alfred Barr, July 12, 1937, Barr Papers.
19.Miës van der Rohe to FLW, September 8, 1937.
20.Goldberg interview, quoted in Lambert, Miës in America (2001), 61.
21.“Freiheit. Es Ist ein Reich!” Interview of William Wesley Peters by Franz Schulze, October 12, 1982, in Schulze and Windhorst, Miës van der Rohe (2012), 183.
22.Blake, Master Builders (1960), 215.
23.Miës van der Rohe, “A Tribute to Frank Lloyd Wright,” was written for an unpublished catalog for the 1940 MoMA exhibition Frank Lloyd Wright: American Architect, MoMA Archives.
24.Gropius, Apollo in the Democracy (1968), 167.
25.Ibid., 168.
26.The origin of the designation Usonian continues to be debated; what is clear is that Wright in his Usonian frame of mind sought to create designs of high quality at middle-class prices. He succeeded to a considerable degree—many of the five dozen or so Usonian homes are very expressive examples of Wright’s work—although many cost more than their owners were led to expect.
27.FLW telegram to John McAndrew, September 10, 1940.
28.FLW telegram to John McAndrew, September 16, 1940.
29.John McAndrew to FLW, September 18, 1940.
30.Invitation to Frank Lloyd Wright: American Architect, November 12, 1940–January 5, 1941, Registrar Exhibition Files, Exhibition 114, MoMA archives.
31.New York Times, November 24, 1940.
32.Brown, “Frank Lloyd Wright’s First Fifty Years” (1940), 37.
33.Ludwig Miës van der Rohe, “1940: Frank Lloyd Wright,” in Reed and Kaizen, Show to End All Shows (2004), 169–70.
34.PJ to Louise Johnson, June 20, 1930.
35.Johnson, Philip Johnson Tapes (2008), 77.
36.Lewis and O’Connor, Philip Johnson (1994), 19.
37.Carter H. Manny Jr. letter to his family, October 10, 1940, Manny Papers, Art Institute of Chicago.
38.John Johansen interview with Frank D. Welch, January 1992, in Welch, Philip Johnson & Texas (2000), 19.
39.“Oral History of Carter Manny,” quoted in Schulze, Philip Johnson (1994), 31.
40.Barr, “Foreword,” Modern Architecture: International Exhibition (1932), 12.
41.Cambridge Chronicle-Sun, April 23, 1942, http://www2.cambridgema.gov/historic/L94_evaluation.pdf.
42.Johnson, Miës Van der Rohe (1947), 96.
43.Tomkins, “Forms Under Light” (1977), 50.
44.Architects Journal, cited in Cambridge Historical Commission report, May 28, 2010, http://www2.cambridgema.gov/historic/L94_evaluation.pdf.
45.Tomkins, “Forms Under Light” (1977), 50.
46.Ibid.
47.Welch, Philip Johnson & Texas (2000), 21.
48.Mrs. Alfred H. Barr to Calvin Tomkins, June 2, 1976, Tomkins Papers.
1.Hilla Rebay to FLW, June 1, 1943. Here and after, unless otherwise specified, the Guggenheim Museum correspondence is found in Wright, Frank Lloyd Wright: The Guggenheim Correspondence (1986).
2.Gill, Many Masks (1987), 416.
3.Rebay to FLW, June 1, 1943.
4.Letter agreement of June 29, 1943, between the Frank Lloyd Wright Foundation and the Solomon R. Guggenheim Foundation in Wright, Frank Lloyd Wright: The Guggenheim Correspondence (1986), 8–9.
5.Hilla Rebay, quoted in Brigitte Salmen, “The Path to Non-Objective Art,” in Art of Tomorrow (2005), 62.
6.Lukach, Hilla Rebay (1983), 45.
7.Hilla Rebay to Rudolf Bauer, October 7, 1918, quoted in Art of Tomorrow (2005), 68.
8.Rudolf Bauer quoted in Art of Tomorrow (2005), 71.
9.Hilla Rebay, “The Power of Spiritual Rhythm,” in Art of Tomorrow (1939), 8.
10.Ise Gropius to Joan M. Lukach, October 19, 1977, in Lukach, Hilla Rebay (1983), 75.
11.Hilla Rebay to Rudolf Bauer, April 16, 1930, quoted in Lukach, Hilla Rebay (1983), 63.
12.Ibid.
13.Rebay’s assertion that she thought Wright deceased in the early 1930s was made in 1967; given Wright’s visibility in the Depression era, there is reason to doubt the accuracy of Rebay’s much later recollection. See Vail, Museum of Non-Objective Painting (2009), 219n134.
14.Robert Delaunay to Hilla Rebay, June 1930, quoted in Lukach, Hilla Rebay (1983), 69.
15.Hilla Rebay to Rudolf Bauer, March 30, 1931, quoted in Lukach, Hilla Rebay (1983), 135.
16.Rudolf Bauer to Hilla Rebay, February 19, 1937, quoted in Vail, Museum of Non-Objective Painting (2009), 187.
17.Rudolf Bauer to Hilla Rebay, February 19, 1937, quoted in Vail, Museum of Non-Objective Painting (2009), 181.
18.Modern European Art (1933) and Modern Works of Art (1934).
19.New York Times, June 4, 1939.
20.FLW to Harry Guggenheim, January 20, 1956, http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0006/.
21.Hilla Rebay to FLW, June 23, 1943, quoted in Vail, Museum of Non-Objective Painting (2009), 204.
22.Solomon R. Guggenheim, quoted in FLW letter to Harry Guggenheim, May 14, 1952.
23.FLW to Solomon Guggenheim, July 23, 1943.
24.Hoppen, Seven Ages of Frank Lloyd Wright (1993), 117.
25.Iovanna Wright, My Life, n.p., quoted in Vail, Museum of Non-Objective Painting (2009), 219n134.
26.Wright, Frank Lloyd Wright: The Guggenheim Correspondence (1986), 30.
27.FLW to Hilla Rebay, December 18, 1943.
28.Ibid.
29.FLW to Hilla Rebay, December 30, 1943.
30.FLW to Solomon Guggenheim, December 31, 1943.
31.FLW lecture to the Taliesin Fellowship, September 12, 1952, quoted in Bruce Brooks Pfeiffer, “A Temple of the Spirit,” in Pfeiffer, The Solomon R. Guggenheim Museum (1994), 6.
32.FLW to Russell Sturgis, 1909, in Quinan, “Frank Lloyd Wright’s Reply to Russell Sturgis” (1989), 238–44.
33.Taliesin senior apprentice Curtis Besinger recalled Rebay laying claim to the idea on a visit to Spring Green in 1951; see Besinger, Working with Mr. Wright (1995), 229, 295n88.
34.FLW to Hilla Rebay, January 20, 1944.
35.Few of the surviving early drawings for the Museum of Non-Objective Art were dated by Wright or his apprentices. I have relied upon the sequence worked out by Bruce Brooks Pfeiffer and Neil Levine in recounting this story; see Pfeiffer, “A Temple of the Spirit” (1994), and Neil Levine, “The Guggenheim Museum’s Logic of Inversion,” in Levine, Architecture of Frank Lloyd Wright (1996).
36.FLW to Hilla Rebay, January 26, 1944.
37.Jacobs and Jacobs, Building with Frank Lloyd Wright (1978), 83.
38.Hilla Rebay to FLW, April 5, 1943.
39.FLW to Hilla Rebay, July 6, 1944.
40.FLW to Hilla Rebay, February 6, 1944.
41.FLW recounted the story in a May 14, 1952, letter to Harry Guggenheim.
42.S. R. Guggenheim to FLW, July 27, 1944.
43.Life, October 8, 1945.
44.Pfeiffer, “A Temple of the Spirit” (1994), 21.
45.FLW to Hilla Rebay, March 3, 1944; and FLW to S. R. Guggenheim, October 1, 1945.
46.Life, October 8, 1945.
47.Architectural Forum, January 1946, 82.
48.“Optimistic Ziggurat,” Time, October 1, 1945, 74.
49.Architectural Forum, January 1946, 82.
50.“Optimistic Ziggurat” (1945), 74.
51.Architectural Forum, January 1948, 54.
52.Ibid.
53.Ibid., 138.
54.FLW to Hilla Rebay, June 23, 1949.
55.FLW to Albert E. Thiele, October 4, 1951.
1.Manny oral history, http://digital-libraries.saic.edu/cdm/fullbrowser/collection/caohp/id/7663/rv/compoundobject/cpd/8196, 41.
2.PH to Carter H. Manny Jr., January 2, 1945, quoted in Schulze, Philip Johnson (1994), 167.
3.Interview with George Goodwin, July 27, 1992, Archives of American Art.
4.PJ to FLW, September 25, 1945.
5.Philip Johnson to Gerald M. Loeb, August 8, 1946, Exhibition Records, MoMA.
6.Story recounted by Johnson in Johnson, Philip Johnson Tapes (2008), 109; and FLW to PJ telegram, September 25, 1946.
7.FLW to Charles Duell, June 1, 1941.
8.Back ad of Wright, Autobiography (1943).
9.Johnson, “Frontiersman” (1949), 105.
10.Schulze, Philip Johnson (1994), 223.
11.Not all versions of the story agree on all the particulars. See PJ interview with George Goodwin, July 27, 1992, Archives of American Art.
12.Rodman, Conversations with Artists (1961), 54.
13.Jon Stroup, interview with Franz Schulze, quoted in Schulze, Philip Johnson (1994), 187. Landis Gores offered a detailed description of the site in his memory piece “Philip Johnson Comes to New Canaan” (1986), 4.
14.Earls, Harvard Five (2006), 44.
15.Whitney and Kipnis, Philip Johnson (1993), vii.
16.Gores, “Philip Johnson Comes to New Canaan” (1986), 3.
17.Ibid., 4.
18.Welch, Philip Johnson & Texas (2000), 24.
19.Ely, “New Canaan Modern” (1967), 16.
20.Ibid., 15.
21.Marcel Breuer quoted in Earls, Harvard Five (2006), 38.
22.PJ to Henry-Russell Hitchcock, May 16, 1945, Henry-Russell Hitchcock Papers, Archives of American Art.
23.PJ to Henry-Russell Hitchcock, Henry-Russell Hitchcock Papers. Italics added. The letter is undated, but from various contemporary cultural references, the likely date appears to be mid-1946.
24.Gores, “Philip Johnson Comes to New Canaan” (1986), 5.
25.PJ to J. J. P. Oud, January 1, 1946.
26.Robert A. M. Stern makes the case for the Wright link in “The Evolution of Philip Johnson’s Glass House, 1947–1948” (1977).
27.Gores, “Philip Johnson Comes to New Canaan” (1986), 3.
28.Trial transcript of van der Rohe v. Farnsworth, No. 9352, Illinois Circuit Court, Kendall County, 320, cited in Schulze and Windhorst, Miës van der Rohe (2012), 250.
29.Lambert, Miës in America (2001), 338.
30.Calvin Tomkins interview with Ulrich Franzen, May 27, 1976, Tomkins Papers.
31.Interview with Eugene George, July 1998, in Welch, Philip Johnson & Texas (2000), 28.
32.Ms. prepared by Mrs. Alfred H. Barr Jr. for Calvin Tomkins, attachment to letter June 2, 1967, Tomkins Papers.
33.New York Times, December 1948, quoted in Earls, Harvard Five (2006), 43.
34.Mary Roche, “Living in a Glass House,” New York Times Magazine, August 14, 1949.
35.“A Glass House in Connecticut,” House & Garden, October 1949, 168.
36.H. I. Phillips, “The Sun Dial,” New York Sun, January 7, 1949.
37.Johnson, “House at New Canaan” (1950), 152, editor’s headnote.
38.Ibid., 156.
39.Johnson, Miës van der Rohe (1947), 162.
40.Johnson, “House at New Canaan” (1950), 153.
41.Johnson, “Whence and Whither” (1965), 32.
42.Johnson, “House at New Canaan” (1950), 157.
43.Drexler, “Architecture Opaque” (1949), 4.
44.Ibid., 6.
45.Ogden Gnash-Teeth, “Cantilever Heaven or Wearing Out Your Welcome,” New Canaan Advertiser, March 13, 1952, 1; reprinted in Earls, Harvard Five (2006), 164.
46.Though recounted elsewhere, the quotes here are drawn from Paul Goldberger’s speech to the National Trust for Historic Preservation Board of Trustees meeting, held at the Glass House on May 24, 2006.
47.Philip Johnson interview in Lewis and O’Connor, Philip Johnson (1994), 33.
48.Johnson, “100 Years, Frank Lloyd Wright and Us” (1957), 193, 194.
49.Welch, Philip Johnson & Texas (2000), 18.
50.Johnson told and retold the tale. Two slightly different versions appear in Tafel, About Wright (1993), 53; and Johnson, Philip Johnson Tapes (2008), 123.
51.Blake, No Place Like Utopia (1993), 151.
52.The story of Wright and Johnson’s Nadelman sculpture comes down in variant versions. The most detailed recounting appears in Gwen North Reiss, “Pedro Guerrero and Friend (Frank Lloyd Wright) and Their 1958 Visit to the Glass House,” Pedro Guerrero, Glass House Blog, posted July 26, 2010, https://philipjohnsonglasshouse.wordpress.com/?s=wright.
53.Johnson, “House at New Canaan” (1950), 159.
54.Johnson partisan Robert A. M. Stern supplied a different punch line: “[Wright] had to admit that it looked absurd there and should be restored to its original place.” Editor’s note in Johnson, Philip Johnson: Writings (1979), 192.
1.FLW to Alan [sic] Bronfman, March 17 and April 19, 1952, in Lambert, Building Seagram (2013), 28.
2.Ellis D. Slater, interoffice memo, quoted in Lambert, Building Seagram (2013), 28.
3.Ludvigsen, “Baron of Park Avenue” (1972), 165.
4.“Frank Lloyd Wright Designs a Commercial Installation” (1955), 133.
5.Calvin Tomkins interview with Philip Johnson, April 5, 1976, Tomkins Papers.
6.Peter Reed, “The Space and the Frame: Philip Johnson as the Museum’s Architect,” in Philip Johnson and the Museum of Modern Art (1998), 75.
7.Johnson, Philip Johnson Tapes (2008), 112.
8.Ely, “New Canaan Modern” (1967), 16.
9.Architectural Forum, quoted in Stern, Mellins, and Fishman, New York 1960 (1995), 342.
10.Phyllis Lambert to Samuel Bronfman, June 28, 1954. A facsimile of Lambert’s letter appears in appendix 1 in Lambert, Building Seagram (2013), 240–47.
11.Johnson, Philip Johnson Tapes (2008), 137.
12.Phyllis Lambert to Eve Borsook, October 30, 1954, quoted in Lambert, “How a Building Gets Built” (1959), 16.
13.Lambert, “How a Building Gets Built” (1959), 14.
14.Ibid., 36.
15.Ibid., 122.
16.The story has been told multiple times. Sources include Lambert, Building Seagram (2013), 9; Scully, “Philip Johnson: The Glass House Revisited” (1986), 154; and Bjone, Philip Johnson and His Mischief (2014), 23.
17.PJ quoted in Joseph Giovannini, “Johnson and His Glass House: Reflections, New York Times, July 16, 1987.
18.PJ quoted in Robert A. M. Stern, “Encounters with Philip Johnson: A Partial Memoir,” in Johnson, Philip Johnson Tapes (2008), 150.
19.Calvin Tomkins interview with Philip Johnson, ca. 1976, Tomkins Papers.
20.Lambert to Borsook, October 30, 1954, quoted in Lambert, “How a Building Gets Built” (1959), 17.
21.Seagram notes, Tomkins Papers, MoMA Archives.
22.“Monument in Bronze,” Time 71 (March 3, 1958): 55.
23.Lambert, Building Seagram (2013), 50.
24.Lambert to Borsook, October 30, 1954, 17.
25.Lambert, Building Seagram (2013), 50.
26.Phyllis Lambert to Anthony and Caroline Benn, March 18, 1955, quoted in Lambert, Building Seagram (2013), 262n39.
27.FLW to Albert E. Thiele, February 9, 1950.
28.Olgivanna Wright, Shining Brow (1960), 185–86.
29.FLW to Harry F. Guggenheim, August 6, 1951.
30.Aline Louchheim, “Museum in Query,” New York Times, April 22, 1952.
31.Arthur Cort Holden to FLW, February 26, 1952, Arthur Cort Holden Papers, Rare Books and Special Collections, Harvey S. Firestone Library, Princeton University.
32.“House of Wright Is Previewed Here,” New York Times, October 21, 1953.
33.Usonian House: Souvenir of the Exhibition (1953).
34.Bruce Brooks Pfeiffer, “Frank Lloyd Wright in Manhattan,” Frank Lloyd Wright Quarterly 7, no. 2 (1996): 8.
35.Mumford, Sketches from Life (1982), 437.
36.Quoted in Pfeiffer, “Frank Lloyd Wright in Manhattan,” 5.
37.Arthur C. Holden interview, January 20, 1971, 12, Arthur Cort Holden Papers.
38.Elizabeth Gordon, “Threat to the Next America,” House Beautiful, April 1953.
39.Kay Schneider, quoted in Pfeiffer, Frank Lloyd Wright: The Crowning Decade (1989), 188.
40.Conversations with Elder Wise Men, May 17, 1953.
41.Harry Guggenheim to Frank Lloyd Wright, July 2, 1956, quoted in Lomask, Seed Money (1964), 184.
42.Bruce Brooks Pfeiffer, “A Temple of the Spirit” (1994), 21. Other sources specify seven sets.
43.Saarinen, “Tour with Mr. Wright” (1957), 22.
44.Ibid., 69.
45.“An Open Letter,” undated, in Wright, Frank Lloyd Wright: The Guggenheim Correspondence (1986), 242. Though accounts conflict, the letter probably arrived on or about May 1, 1957.
46.Curtis Besinger to William Short, December 23, 1958, William H. Short Papers, Special Collections, Firestone Library, Princeton University.
47.Pfeiffer, “Frank Lloyd Wright in Manhattan,” 9.
48.Johnson, Philip Johnson Tapes (2008), 144.
49.“Monument in Bronze,” 55.
50.The stage curtain remained in situ at the Four Seasons for fifty-five years until its removal, in 2014, after a dispute between new owners of the Seagram Building and the New York Landmarks Conservancy. Today the conserved canvas is on view in a new home, the New-York Historical Society.
51.Seagram notes, Tomkins Papers. See also Mariani and von Bidder, Four Seasons (1994), 32–33.
52.Johnson, “100 Years, Frank Lloyd Wright and Us” (1957), 196–98.
53.PJ lecture at Yale, May 2, 1958, 14, Philip Johnson Papers, MoMA Archives.
54.Yale Daily News, March 3, 1950.
55.Johnson, “Whence and Whither” (1965), 151.
56.Rodman, Conversations with Artists (1961), 58.
57.Mariani and von Bidder, Four Seasons (1994), 39.
58.“The Four Seasons,” Interiors, December 1959, 80.
59.Mariani and von Bidder, Four Seasons (1994), 150.
60.Curtis Besinger to William Short, November 17, 1958, William H. Short Papers.
61.Cranston Jones, “Pride and Prejudices of the Master,” Life, April 27, 1959, 54.
62.Mumford, “The Sky Line: What Wright Hath Wrought” (1959), 110.
63.Johnson, Philip Johnson Tapes (2008), 147.
64.Saarinen, Proud Possessors (1958), 282.
65.Robert Alden, “Art Experts Laud Wright’s Design,” New York Times, October 22, 1959.
66.Johnson, “Letter to the Museum Director,” in Museum News, January 1960, 25.
67.Rodman, Conversations with Artists (1961), 70.
68.Johnson, “Whence and Whither” (1965), 151.
69.Ada Louise Huxtable, “That Museum Wright or Wrong?,” New York Times, October 25, 1959.
70.Alden, “Art Experts Laud Wright’s Design.”
71.Lomask, Seed Money (1964), 185.
72.Mumford, “The Sky Line: The Lesson of the Master” (1958), 142, 145, 151.
73.Olgivanna Wright, Shining Brow (1960), 22.
1.Colloquially known for some years as Idlewild—the name was borrowed from an adjacent resort development on New York’s Jamaica Bay—the airport would became John F. Kennedy International in late 1963 after the president’s assassination.
2.William H. Short, note to file, February 5, 1958, William H. Short Papers.
3.Henry-Russell Hitchcock to FLW, March 2, 1958, Archives of American Art.
4.Yale Daily News, May 7, 1957.
5.PJ lecture at Yale, May 2, 1958, 11–12, Philip Johnson Papers.
6.PJ interview in Tafel, About Wright (1993), 48–49, 54.
7.Interview with George Goodwin, July 27, 1992, Archives of American Art.
8.Neil Levine, “Afterword,” in Jenkins and Moheny, Houses of Philip Johnson (2001), 270.
9.Yale Daily News, February 16, 1959.
10.“The International Style—Death or Metamorphosis,” reprinted in Johnson, Philip Johnson: Writings (1979), 122.
11.Johnson, Architecture of Philip Johnson (2002), 21.
12.PJ, “Full Scale False Scale,” Show (June 1963), reprinted in Whitney and Kipnis, Philip Johnson (1993), 24.
13.“David Whitney, 66, Renowned Art Collector, Dies,” New York Times, June 14, 2005.
14.See Levine, Architecture of Frank Lloyd Wright (1996), 426.
15.Scully, “Philip Johnson: The Glass House Revisited” (1986), in Whitney and Kipnis, Philip Johnson (1993), 156.
16.Johnson, Architecture of Philip Johnson (2002), 4.
17.PJ, quoted in MOMA, summer 1975, unpaginated.
18.Whitney and Kipnis, Philip Johnson (1993), vii.
19.Johnson, Philip Johnson Tapes (2008), 133.
20.Louis Sullivan, “The Tall Office Building Artistically Considered,” Lippincott’s Magazine, 1896.
21.Johnson, Philip Johnson Tapes (2008), 64.
22.Vincent Scully, Modern Architecture: The Architecture of Democracy (1961), 118.
23.Andersen, “Philip the Great” (1993), 137.
24.“What Makes Me Tick” (1975), reprinted in Whitney and Kipnis, Philip Johnson (1993), 49.
25.Johnson, Philip Johnson Tapes (2008), 172.
26.Calvin Tomkins interview with Philip Johnson, Tomkins Papers.
27.Tafel, About Wright (1993), 47–48.
28.Filler, “Philip Johnson: Deconstruction Worker” (1988), 105.
29.Tafel, About Wright (1993), 55.
30.Lewis and O’Connor, Philip Johnson (1994), 28.
31.Interview with George Goodwin, July 27, 1992, Archives of American Art.
32.Lewis and O’Connor, Philip Johnson (1994), 30–33.
33.Johnson, Philip Johnson Tapes (2008), 107.
34.Tomkins, “Forms Under Light” (1977), 66.
35.Ibid., 60.
36.“Behind the Glass Wall,” New York Times, June 7, 2007.
37.Charlottesville Tapes (1985), 15, 19.
38.FLW, “Architecture, Architecture, and the Client” (1896), in Wright, Frank Lloyd Wright Collected Writings (1992), 1:31.
39.In developing this line of thinking, I am indebted to William Cronon and his essay “Inconstant Unity: The Passion of Frank Lloyd Wright,” in Riley, Frank Lloyd Wright (1994), 8–31.
40.Mumford, “The Sky Line: What Wright Hath Wrought” (1959), 105.
41.Johnson, “Responsibility of the Architect” (1954), 46.
42.Yes, yes, I will stipulate that either of Wright’s Taliesins—to cite just two of his most personal projects—could equally well be seen as the best embodiment of his essential nature. But here we are looking with the eyes of the world—so please accept the premise that the world most closely identifies Wright (wrong or right) with the more widely known and recognized Kaufmann house.
43.A Handbook for Travelers in North Wales, 3rd ed. (London: John Murray, 1868), v.
44.Jeffrey Kipnis, “Introduction,” in Whitney and Kipnis, Philip Johnson (1993), xi.
45.See John M. Jacobus Jr.’s text to his monograph Philip Johnson (1962), 18. It brings to mind Vincent Scully’s notion of Johnson’s “stored mind,” cited above.
46.PJ to Stern, in Johnson, Philip Johnson Tapes (2008), 178.