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The American-in-Paris gallerist Darthea Speyer was more than ambivalent to Rappaport's work; even though she had sponsored the young twenty-four year old painter for a studio at le Cite Internationale des Arts. And even though she would allow Leon Golub's iconic borrowings from Greek sculpture which she gave a solo exhibition at her gallery on rue Jacques Callot; she would not allow the same freedom for the young artist.
In Chapter 4 of "Portraits & Passages, Rappaport addresses her keeping him from the playing field: Darthea had only seen my surface as Cobra influenced. She did not imagine an approach that combined and reformed on a two-dimensional canvas aspects of Oceanic shields, Romanesque hinged altarpieces, Picasso's bent flat-metal sculptures, Calder's stabiles and Lee Bontecou's canvas covered portals. I had seen a common thread that touched all of them, but because all these aspects were integrated into a whole and my structural quotations transformed, Darthea was only willing to see the surface and pronounce "de Kooning".
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