[Tim] also had failed to improve, to 'develop', but he kept on painting assiduously, content to be a mediocre painter and enjoy it. He had no identity, no 'personal style', but he did not mind. (Guy once told Tim that it did not matter, having no identity.) He became a cubist, then a surrealist, then a fauve: a futurist, a constructivist, a suprematist. He adopted expressionism, post-expressionism, abstract expressionism. (But never minimal or conceptual or pop, these he despised.) He imitated everybody he admired, everybody fairly modern that is, he could not imitate Titian and Piero. (He would have done if he had known how to start.) He painted pseudo-Klees, pseudo-Picassos, pseudo-Magrittes, pseudo-Soutines. He would have done pseudo-Cezannes only that was beyond him. He attempted spotty interiors in the style of Vuillard, and breakfast tables in the style of Bonnard. One of his teachers had said to him, 'Tim, I think it is your destiny to become a great faker.' Alas Tim could not rise to this. Faking demands a patience and a knowledge of chemistry which Tim did not possess. It also demands a considerable talent as a painter. Tim did not possess this either.
Tim would not have agreed with the Shakespearean dictum that if all the year were playing holidays to sport would be as tedious as to work. He had occasional bouts of childish misery but they did not last long. His exiguous teaching was not arduous. When he tired of painting he went to the pub. He was not an industrious painter, he was indeed rarely systematic. He was not a reader of books. What he knew about the history of his art he picked up in an instinctive and random manner. He went to the picture galleries and remembered what he liked. He also, in a spirit of hedonism, haunted the British Museum. His interest in the exhibits was purely visual, he knew nothing of their history. Unencumbered by extraneous facts he taught himself to look at Greek vases and Etruscan tombs and Roman painting, and Assyrian reliefs, and vast Egyptian statues, and tiny jade objects from China and tiny ivory objects from Japan. All sorts of things took his fancy and pleased his magpie taste: elegant Roman letters, curled-up Celtic animals, jewels, clocks, coins. These aesthetic adventures rarely influenced his painting, and it never occurred to him that he might be inspired by what he could not copy.
He attempted to sell his paintings, but this was difficult since no one would exhibit them. Friends and acquaintances occasionally bought his work out of kindness (the prices were modest). The Count bought a painting (a pseudo-Klee), and Guy bought one and hid it. Tim, never very ambitious and now resigned, went on drawing and painting randomly, it was after all a natural function. He drew people, figures in pubs or on streets, whom he thought of as 'spectators at a crucifixion'. A man drinking beer watching a crucifixion, a man selling newspapers watching a crucifixion, a man on a passing bus watching a crucifixion. The crucifixion scene itself, however, never materialised.