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1. My thanks to the Melanie Klein Trust for permission to reproduce Kleins letters to Stokes, to Telfer Stokes and Ian Angus for permission to reproduce Stokess previously unpublished letter to William Coldstream, to the Stokes family and the Tate Gallery Archive for access to letters included in this article, and to Paul Tucker for help with transcribing some of these letters. JANET SAYERS is Professor of Psychoanalytic Psychology at the University of Kent in Canterbury. Her books include Mothering Psychoanalysis (Penguin, 1992), Freudian Tales (Vintage, 1997), and Freuds Art (Routledge, 2007). She is currently completing a biography of Adrian Stokes. Address for correspondence: Dept of Psychology, University of Kent, Canterbury, Kent CT2 7NP. [jvs@kent.ac.uk]
Psychoanalysis and History 14(1), 2012: 111132 DOI: 10.3366/pah.2012.0101 # Edinburgh University Press www.eupjournals.com/pah
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are now with Stokess son, Telfer, with the Tate Gallery in London or with Stokess widow, Ann. They begin with Kleins response to a letter from Stokes about Telfers birth on 3 October 1940, written when she was staying with the family of one of her patients in Pitlochry in Scotland.
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I wonder what the effect on your painting is of not having for such a long time done any. Send me a word from time to time if you feel like it. With my very best wishes Yours sincerely Melanie Klein P.S. My paper [Klein, 1946] has just come out in the Journal. If you still wish to have the proofs I can send them to you after my return to London (4th Sept.) My collected papers [Klein, 1948a] are at the printers but I dont know yet when they will be out.
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you to hear that Connolly may have a very special reason for not wishing to publish the review however good it may be. He is on very good terms with Glover and has published at least on one occasion rather unpleasant remarks by Glover [1945] about me. Glover [1948, 1949] has recently published two articles on Jung with a third to come. Some of my friends are convinced that the third article will contain a not too friendly reference to me. As regards your query about scientic journals to which you could send your review. I wonder whether Nature would accept it. They have been sent a review copy. John Lehmann is not with the Hogarth Press any more and I think that Leonard Wolf [sic] is doing very little there but if you write to the Hogarth Press, particularly to Miss Birch with whom I have been much in contact over my book, they will certainly give you any information they can. I dont know whether you saw the review in the New Statesman of 5th February [Gorer, 1949]? Although some people think that it was not too bad and others even think it was very good, I have expressed my disagreement in a letter to the Statesman which I hope will be published. Gorer [1948] has recently written a good book, The Americans and therefore is quite a well-known man. I was particularly annoyed with the rather arrogant tone of the review as if he knew all about it. I am afraid that I do not know anyone in America who could do something about reviews. It seems that I am not good at advertising myself but in spite of this, between 1,400 and 1,500 copies of the book have already been sold which seems a great success. So far, apart from the Statesman, only the 19th Century have reviewed the book and although this was a very short review [M.G., 1948], it was very respectful and appreciative. I am keeping well and busy. I intend to spend my summer holidays in Switzerland, from August 14th19th in Zurich at a Psycho-Analytical Congress and then from 19th August to 16th September at Casa San Giorgio, Brissago which I think is not very far from where you live. Should you be at home at this time, we might perhaps meet which I should enjoy. With kind regards Yours sincerely Melanie Klein P.S. The address of Nature is (Macmillans,) St. Martins Street, London, W.C.2. Klein duly visited Stokes, Ann, and their son, Philip (born on 18 February 1948), in Ascona from where Stokes briey visited Italy while also working on his next book, Smooth and Rough, to which Klein refers in the next letters.
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The essential meaning of my criticism, as you put it so clearly, was to soften the transition and to increase the ow; I would say, to let the meaning grow out of what you are saying and not to put it in articially by means of psycho-analytic terms. This is what I had essentially in mind and not, as you seem to have partly understood it, to guard psycho-analysis against misrepresentation. If there were any misrepresentation it would come from not being able sufciently to enlarge on it, but that in any case was not your objective. In short, this side should not bother you [so much deleted] as it seems to have done. As regards the passages you want to insert:The footnote touching on object relations seems to me quite all right. I also think that the two footnotes quoting from the Anxiety and guilt paper [Klein, 1948b] are quite satisfactory. About the sentence you inserted in the foreword:- I could follow it easily up to the second half, [namely deleted and replaced with but from] there may also be in my argument, [which deleted] I nd unclear. However, I have no objection on any ground except that I think it is not clear. I have in fact made a beginning with my book on technique, but I am sure it is going to be a very difcult and lengthy job. [Klein might be referring here to work on her book, published in 1961, in which she recounted her technique in terms of her war-time treatment in Pitlochry of a 10 year-old boy, Richard.] With kind regards, Yours sincerely Melanie Klein In June 1950 Stokes returned with Ann and their son, Philip, from Ascona to England. Kleins next letter was evidently prompted by his sending her a copy of his newly published book, Smooth and Rough, together with news of the opening of an exhibition of his paintings at the Leger Galleries in Old Bond Street.
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If by any chance you happen to be in London on that morning I shall be very pleased to meet you there. I meant [inserted many times] to ask you and your wife to come and see me but it never seemed to come off. We must arrange a date soon. Yours Melanie Klein Since Stokes was away in Canterbury, visiting his son at boarding school in nearby Bettshanger, when Klein saw his paintings at the Leger Galleries she wrote about them in her next letter.
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But she criticized his rejection of Abstract Expressionism in her 1969 book, The Hands of the Living God. Meanwhile, after the birth of Stokess and Anns daughter, Ariadne, on 10 April 1951, the Stokes family moved that September to Hurtwood House near Guildford in Surrey. From there Stokes sent Klein a copy of a paper he had written about art and psychoanalysis about which Klein comments in the following letters in which she also responds to his offer to commission a portrait of her by William Coldstream in honour of her 70th birthday on 31 March 1952.
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me to do, with her general attitude about the portrait. I fear both she & the majority of her friends are considerably exercised. At her request I have been up to see her about it. She admits that she now puts far more store on the existence of a portrait of her than she did originally. Everyone sees in the portrait a strong & formidable work of art in the making. It is this deniteness which causes them to be all the more concerned, I feel. I dont believe there would be much difculty in getting Mrs Klein to sit considerably longer did she feel any assurance that what she & her friends nd to be utterly out of character, would lessen. She is far from feeling this assurance & thinks, now the plan is set, that it would intensify. I cannot attempt to reassure her on this point because, for all I know, she may be right. The burden of the complaint is as follows (1) The portrait makes her look 20 years too old and the repose is the lethargy of extreme old age. This in itself (which in age I must admit I nd undeniable) does not matter so much, it is thought, as (2) she looks hard & unfeminine, not to say, masculine. There is considerable resentment, so to speak, about this because the essence of Mrs Klein, as her friends see her, is her quick sympathy, warm-bloodedness & warm heart & a certain gaiety. I think you feel this too but I know that it does not necessarily follow that this aspect can appear in the painting. One complication here is that she is accused, I believe, by her enemies, quite unjustly, of being melancholic. The portrait it is . . . fair record of her essential personality. The mouth & upper lip are very hard. The . . . hardly painted but will if, when nished, express a very different aspect of her person . . . And if not, though an admirable work of art, from the Kleinian point of view it is . . . fair exhibit to hand to posterity. That is the burden of what is said & felt, with two dissentients who think some softness & vivacity will evolve. You will realize how extremely disagreeable it is for me to write to you about these extraneous matters in connection with a work in progress which I so greatly admire: but not only do I have to do it but I have to admit their validity, from the point of view from which they are uttered. If you feel able to give reassurance to Mrs Klein on these matters I vehemently ask you to do so. If you dont feel able, I think it would be better, sad as it is, for all concerned that the work be abandoned now. As you know, I think the portrait a very ne & powerful piece of work, & you must not hold this letter against me. It is hell to have to write it. What you are up against is not just feminine vanity. I think, in the circumstances, there is more to it than that. On the subject of the pose & the clothes as I told Mrs Klein (there was no question at all of the pose changing (!) I did not lend a willing ear at all. She of course knows that too: moreover these last objections, by themselves, are not deep-rooted. With profound apologies for this wretched letter Yrs Adrian
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I would stress again that the power of the work seems to be widely felt. Mrs Klein herself knows that the portrait she has, is absolutely nothing beside yours. It makes no statement, therefore, of any kind. Klein in turn wrote more about the portrait in the following letters.
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where she evidently saw it on a family visit prior to writing the following letter in which she began with thanks to Stokes for a painting seemingly by him and now in the possession of Kleins grand-daughter, Hazel Bentall.
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together with a preface which should link my previous Congress paper The Origin of Transference [Klein, 1952] with the present one. Unfortunately my strength is not quite equal to my thoughts if I have worked hard in day time I am usually too tired in the evening to do anything except listening to music. I heard that you are interested in nding an analyst for Philip. I can highly recommend Dr Holmes [?] who although I have only been supervising his child case for some weeks shows great gifts as a child-analyst he is an experienced Adult analyst and with some more experience with this child should do very well with another. The Congress [in Geneva], as you probably heard was very successful as far as my work is concerned and I also much enjoyed the holiday in TeritelMontreuse afterwards. With my best wishes to Ann and you Yours sincerely Melanie Klein
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I happen to know of analyses which are very satisfactorily carried out by Child therapists. But I am not in touch with the child-therapists and in particular, which is your main point I have no judgement whatever about ths work. When I told you that as far as Dr Jaques is Miss Rosenblu concerned he has only started work under my supervision about now 7 weeks ago but shows ability and will during one year have acquired some experience in this case, I certainly did not mean to say that by then he will be an experienced child-analyst. But then I remembered that you had th and wished to know my opinion about decided to give up Miss Rosenblu Jaques. Now you seem very uncertain whether you should change over and on this point I cannot advice [sic] you since I do not know, as I said, anything about her work. I really think you should discuss your problem with Mrs. Bick, whose judgement can certainly be trusted. I shall be glad to see you but wish to postpone this for a while because I am so caught up with expanding my paper [Klein, 1955] and have quite a few commitments apart from this that I should prefer to see you later. I shall write again later. In the meantime best wishes to Ann and you. Yours sincerely Melanie Klein
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I hear that you are moving to Hampstead and then I hope we shall see more of you and Ann. I have been meaning to write to you for some time to tell you that I liked your paper [Stokes, 1955b] in the New Directions. This winter did not agree with me though I was not actually ill, and that is why I have been unsociable and you did not hear from me earlier. I am going away at Easter for a fortnight, and hope to see you after I return. Yours sincerely Melanie Klein
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too early to arrange at the moment. It is a pity we have all been looking forward very much to going to see you. With kind regards Yours sincerely Melanie Klein P.S. It is possible that the Quarantine for Diana might be over & neither Michael nor [Diana deleted] Hazel would get it. But to our reckoning that would have to be conrmed by the doctor this we could only know one or two days before the 24th. Would that still do for you at such short notice? After selling Hurtwood House in the summer of 1956 Stokes moved with Ann, Philip, and Ariadne to Church Row, Hampstead, where Klein visited that autumn as can be seen from her next letter.
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Dear Stokes, Thank you very much for your kind offer to help me to get the papers from Hartmann. In the meantime, it turned out that I did not need any more, and, in any case, the meeting has already taken place. I was glad to hear that you found my Congress paper of value [Klein, 1958]. For various reasons, I have the impression that it is going to appear just at the right moment. I was very interested in the other content of your letter referring to your writing. I have so far not yet been able to read your paper [Stokes, 1957], but that will come. Yours sincerely, Melanie Klein P.S. Thank you for getting for me the copy of Ps. An. Study [Psychoanalytic Study of the Child, the journal founded in 1945 by Anna Freud, Heinz Hartmann and Ernst Kris which published a very different version of psychoanalysis from that of Klein.] In July 1958 Stokes went on a painting holiday in Italy with Lawrence Gowing and his wife, Julia Strachey, during which time Klein addressed the following letter to Ann about an invitation to the ballet involving Margot Fonteyn whom Stokes had known as a friend since becoming a well-known ballet expert in the 1930s.
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References
Ehrenzweig, A. (1952) Review: Inside Out and Smooth and Rough by A. Stokes. International Journal of Psychoanalysis 33: 5012. Glover, E. (1945) Psychology and the public. Horizon 11(63, March): 20511. Glover, E. (1948) Freud or Jung. Horizon 18(106, October): 22558. Glover, E. (1949) Freud or Jung (Part II). Horizon 18(107, November): 30318. Gorer, G. (1948) The American People. New York, NY: Norton. Gorer, G. (1949) Review: Contributions to Psycho-Analysis by M. Klein. New Statesman, 5 February, pp. 1323. Gowing, L. (1956) Review: Michelangelo by A. Stokes. New Statesman, 2 March, pp. 248, 250. Grosskurth, P. (1986) Melanie Klein. London: Hodder & Stoughton. Isaacs, S. (1948) On the nature and function of phantasy. International Journal of Psychoanalysis 29: 7397. Jones, E. (1955) Sigmund Freud: Life and Work, Vol. 2. London: Hogarth. Klein, M. (1946) Notes on some schizoid mechanisms. International Journal of Psychoanalysis 27: 99110.
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Klein, M. (1948a) Contributions to Psycho-Analysis 19211945. London: Hogarth. Klein, M. (1948b) A contribution to the theory of anxiety and guilt. International Journal of Psychoanalysis 27: 99110. Klein, M. (1952) The origins of transference. International Journal of Psychoanalysis 33: 4338. Klein, M. (1955) A study of envy and gratitude. In: Mitchell, J. (ed.), The Selected Melanie Klein, pp. 21129. Harmondsworth: Penguin, 1986. Klein, M. (1957) Envy and Gratitude. London: Tavistock. Klein, M. (1958) On the development of mental functioning. International Journal of Psychoanalysis 39: 8490. Klein, M. (1961) Narrative of a Child Analysis. London: Hogarth. Klein, M., Heimann, P. & Isaacs, S. (eds) (1952) Developments in Psycho-Analysis. London: Hogarth. Klein, M., Heimann, P. & Money-Kyrle, R. (1955) New Directions in PsychoAnalysis. London: Tavistock. M.G. (1948) Review: Contributions to Psycho-Analysis 19211945 by M. Klein. Nineteenth Century and After, 144 (862, December): 358. Read, H. (1955) Michelangelo and Bernini. The Listener, 24 November, pp. 8868. Sayers, J. (2000) Kleinians. Cambridge: Polity. Sayers, J. (2011) Adrian Stokes psychoanalytic aesthetics and the First World War. American Imago 68(3): 5617. Segal, H. (1952) A psycho-analytic approach to aesthetics. International Journal of Psychoanalysis 33: 196207. Stokes, A. (1945a) Concerning art and metapsychology. International Journal of Psychoanalysis 26(34): 1779. Stokes, A. (1945b) Venice. London: Faber and Faber. Stokes, A. (1946) Inside out. Polemic 2(January): 5160. Stokes, A. (1947) Inside Out. London: Faber and Faber. Stokes, A. (1951a) Smooth and Rough. London: Faber and Faber. Stokes, A. (1951b) Art and a formal aspect of dreams. December, Tate Gallery Archive, TGA8816.193A. Stokes, A. (1952) Art, object-relationship and a formal aspect of dreams. March, Tate Gallery Archive, TGA8816.192. Stokes, A. (1955a) Michelangelo. London: Tavistock. Stokes, A. (1955b) Form in art. In: Klein, M., Heimann, P. and Isaacs, S. (eds), Developments in Psycho-Analysis, pp. 40620. London: Hogarth. s and individual words. International Journal of Stokes, A. (1957) Listening to cliche Psychoanalysis 38: 4128. Stokes, A. (1960) Obituary: Melanie Klein. The Times, 26 September, p. 24. Stokes, A. (1961) Strong smells and polite society. Encounter 17(3 September): 506.
ABSTRACT
The article consists of letters from Melanie Klein (18821960) to the writer and painter, Adrian Stokes (190272). Spanning nearly 20 years (from 1940 to 1959) these letters concern family and psychoanalytic matters together with Kleins repeated request for the destruction of a portrait of her by William Coldstream, commissioned by Stokes in honour of her 70th birthday on 31 March 1952. Key words: art, psychoanalysis, Melanie Klein, Adrian Stokes, William Coldstream, Joan Riviere, Esther Bick, Elliott Jaques, Hanna Segal, Marion Milner