'In contrast to the congested energy of the early portraits, these images possess a startling clarity, especially the paintings of Chaim. After his father's death, Kossoff began drawing his brother in 1983. Unusually, he found a rapid, almost immediate, sympathy with the subject. The resulting figure studies are among his most successful, combining an honest warmth of feeling with excitement in the act of creation'. Paul Moorhouse, Leon Kossoff, exh. cat., Tate, London, 1996, p. 33.