Show description

V. C. —Yes, Cendrars was the . . 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?

When a picture seems to be finished, and ready — even if you put off the moment of signing does to be signed having finished it satisfy you? Or are you still uneasy about it, do you still consciously or unconsciously expect to have to add something or take something out later on? C. and tend not skillful I often have my doubts, I do hesitate, to sign until I'm asked to. V. your — Because — Let's blending of go back oils, to the substance of so rich in content. They your palette, say that every painter has his secret.

Of course, what all this activity means to me is my oeuvre, something which never stops inspirsymbols in my work meet up, by osmosis, All the familiar me. ing or instinct, with biblical symbols. For me, it's the never-ending call the continuation of of continuity. V. — In your house, you spend your time among the flowers arranged in every room by your wife, Vava. Some of these All these flowers, from bouquets find their way to your studio the humblest to the most regal, bring beauty into your day.