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I believe that this answers all the questions you have put to me, and should do much towards calming your apprehensions about the quality of the show. I have not troubled to get photographs and clippings of paintings that would be submitted, since this would entail more or less of a commitment to do the show, and since in another sense I should have to pass upon the quality of the work submitted to me by photograph. It is for that reason that I have very carefully tried to get qualified opinions from other sources on the value of this show. I believe that Mr. Jewell's remarks, quoted above, certainly go far enough to calm any apprehensions on that score that you may have.

You of course realize that when I speak of publicity on this show and of interest among the leading advertising men and industrialists, I am thinking not only of the success of this particular undertaking but of its ability to create good-will and an interest in fine arts among the very class of people who today have the money to spend on fine arts. If you will look over the list of agencies which I enclosed in my last memorandum, and the list of their most important clients, you will understand the connection I have in mind. I can also tell you from one or two personal experiences which I have had in the advertising fields, that very often a great industrialist will ask the Art Director of his company or agency for some advice as to what paintings and what hangings he should have in his own home. If I wanted to lengthen this memorandum beyond all reason, I could write you a couple of short sketches of just how this type of advice is sought and how it is followed. You must realize that, like your story of one of the Duponts which you told me, a great many of the wealthiest and most important men in America have no conception of good, bad or indifferent art, and as a rule the only artist in whom they have any confidence or whom they are likely to know at all well is the man who handles their advertising art work.

I might also point out that among the art directors whom we might invite to serve on the committee and to show their work in the gallery, there are many who are among the highest-paid men in industry. They themselves have money enough to spend on paintings and, although not in the Giotto or Lawrence class, nevertheless fall into the financial category of people who can afford an occasional Cezanne, Matisse or Picasso. So all in all I believe that we will be able to assemble a group of people interested in this show whose contacts might prove extremely valuable in relation to the old masters.

I hope that between my two memoranda I have been able to calm your apprehensions. I should appreciate a final confirmation for the show. There is a vast amount of work to be done in order to see that it goes over properly. Further than that, time is an important element, since a good many magazines - such as Vanity Fair, Fortune, Harper's Bazaar, Esquire, Scribner's ^[[etc]] have a deadline for stories and photographs running from six weeks to three months before the date of publication. As I told you before, no painting will be accepted for hanging until either yourself or a small jury composed of people such as Jewell, Walter Pach or any other art critics you might select to serve have had a chance to pass upon its desirability from an art standpoint.