Instead, he championed the new generation of post-abstract Expressionist artists, such as John Chamberlain, Claes Oldenburg, and Frank Stella, whose work was moving away from what he viewed as outmoded
European aesthetic ideals.
The origins of Sylvester's criteria for a modern realism with a strong formalist and humanist grounding were integrally bound to his formative experience as a young critic in Paris, as the art historian James Hyman has carefully detailed.17 With the re-opening of
European borders after 1945, Sylvester enthusiastically crossed the channel along with British artistic peers including William Turnbull, William Gear, Eduardo Paolozzi and Lucian Freud to soak up the
aesthetic and philosophical
ideals of Paris.