School of Paris

They were worried that there was no such thing as American painting, right? And culture, which in a way was true.

It wasn't true, but it was true in the sense that it didn't measure up to anything like the French or like the School of Paris at that time.

I mean, nobody could take them so seriously here.

You know, if you had any eyes for art, you were thinking of what was going on in Paris.

What do you know of the origins of the Euston Road School method? What did the Dot and Carry system comprise of, and how did Euan advance it or make it his own in a way that stands out from Coldstream's practice? Either of you can take it.

Um, what I know is that it started out in sort of 1930s with, uh, William Coldstream, Victor Passmore, a- and Claude Rogers and Graham Bell, and they, I think, were, um, coming out of or getting dissatisfied with the sort of, you know, going, working through, um, School of Paris type of painting or coming to terms with abstraction and things like that and not really wanting to go down that road.

Mm.

And then, um, I think, like, Coldstream got involved in, um, documentary filmmaking, and it was a, like, c- came out of painting and, um, I think they had this sort of feeling of being, they were quite left-wing intellectuals and kind of being more utilitarian and accessible or whatever.