In fact, each of these operators has an eccentric take on the standards
supplied by his forebears — in Poussin's case, the transparent pictorial window of Renaissance art, in Twombly's the in - your - face vehemence of the Abstract Expressionists.
The sixties generation's inordinate self - regard; their demand to be given, without striving for it, all the goodies their society had to offer, including, of course, easy sex; their recourse to the instant and unearned sense of power and comfort
supplied by drugs; their refusal to serve their country; their general ingratitude, expressed most of all in their declared intention to lead lives in no respect like those of their
forebears — all these were translations of the hubris that, partly unconsciously but entirely influentially, constituted the basic underpinning of their upbringing.