Viewing page 5 of 168


Nov. 15
[[strikethrough]]January 4[[/strikethrough]]

Garde movement in painting has intuitively (grasped) sensed this. It is in a sense godlike to attempt to - recreate the beautiful accidents in
nature. again & again I am reminded of the cave paintings with the colours of the autumnal earth - greyed Rose & blue violets, rosy ochres, surprising notes of water in of opaque veridian with wonderful warm brown Rock forms rising out of it. All this with every quality of brushstroke Picasso has ever thought of.

Here, up in the sky, one is able, so to speak, to commune & converse with the infinite, God, the supreme artist - The subliming of conception, the tenderness of execution - The sky, so greyed blue, with accidental, brush marks of warm, smoky sienna, a beautiful washed out orange & palest greyed chrome yellows. 
I think of Soutine, & his wild, romantic, subjective, [[?]], idealistic approach to nature -


Nov. 15
[[strikethrough]] January [[/strikethrough]] 5

- all so foreign to me. It has always been the classical approach in art - the majestic objectivity which has always appealed to me, ever since I can remember. Mondrian, with his rarified purism has captured this - but lacks the poetic; tenderness of execution, which is why his work is so formalistically cold.

Los Angeles.  Nov. 16
At Los Angeles airport.

Mlle Nicole Pauguin (Breton)

Charming young French girl, just arrived. overwhelmed with New York.

(Delay at air port from 8 P. M. & 3.45 AM. Crowded with all passengers taken to the Knickerbocker Hotel where I was given a beautiful double suite with bath & a DeLuxe breakfast - all as guest of P.A.A.

Small compensation for missing a day at Honolulu.  Two young men, natives of Hawaii were advising me as to what to see.  One of them, an Atomic construction worker, said "the world needs more women like you. It seems that to him I represented culture, travel, the wisdom that comes with experience 
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact