By N. Y.) Metropolitan Museum of Art (New York
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Extra info for A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art/E0720P
And then Apolavoid him. Roger de closest, I did know Max Jacob, but tended to Fresnaye was another good friend. linaire. la . V. —Did you sometimes use to meet Picasso, Braque or Juan Gris, or were you, as a young foreign artist, too shy? Like Matisse and Derain, they were already famous, and you were just starting in the "society" of Parisian painters. C. — I met Juan Gris occasionally, and I once vis- ited Matisse. V. sia, and what — Did you know Malevich and Tatlin well sort of relations did you have with them?
That sel in the wall a successful counterpart to your ea- dynamism of form which is so characteristic of happy radiation of color and shape the "plastic chemis- the inspired you, the try" is, is — you so value? C. — talk about my own. you ... I can judge other sometimes find it very hard to I've already told people's painting pretty well, but I try as I much as possible to be myself, all of myself, in any art form, including painting. — Before you left France for the United States in done much lithography.
It's certainly easy to tell the sex of most of 39 "of the bull," and mingles with the sense of the sacred. Eros the from the prophets, the most ancient "composers" of humanity in the Old Testament. The animals are also musicians, instrumentalists on the flute or violin or cello. These are also the characters in your circus, its trapeze artists, actors, ropewalkers, dancers, riders, clowns, angel acrobats and the rest. I spoke earlier of a far-off Chagall coming toward us through his pictures. Well, do you know, I sometimes imagine you endlessly wandering the countryside with a violin under your chin, like a Russian Orpheus of the east, with the beasts of the air and the earth following on behind.