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118 Waverly Pl.
New York 11, N.Y.
Feb. 23, 1950

Dear Mr. and Mrs. Nakada:

Thank you very much for enclosing the Mainichi newspaper clipping of February 16th. After carefully reading over the interview which took place recently in my New York studio with the reporter Takamatsu, I was astonished at his interpretation of what I reportedly said. It seems particularly ridiculous since my own statement printed side by side with his is in direct contradiction.

Whether it is the reporter's fault, a bad rewrite job or limitation of space, certain liberties have been taken to misconstrue my meaning. I don't believe the intention was to make it sounds ludicrous.

Apparently my statements in both English and Japanese were misinterpreted during the interview. However, Mr. Takamatsu didn't ask any questions for I inquired this evening of the person who was there at the time to check on what was said. She speaks both English and Japanese.

However, I am not going over all of it point by point. If you will compare the following with the article it will give you a better idea of what I mean.

I feel that most people, whether in Japan or in this country, who know nothing about painting are at a loss and puzzled when they meet the artist. Either they treat him as an exalted person or as a good for nothing. They don't seem to consider the artist as a human being. And this is my point - I believe any good artist has to be a human being first, above everything else. Exaggerated and false statements are made in this article because this simple fact is not understood and because it is not important to the writer. Moreover, that which is stated in the article is not what I think, but maybe what someone else thinks.

All my life I have based my work on certain ideals, principles and direction and I believe most strongly about these points. Whatever form or symbol appear on the canvas is a reflection and a result of these basic beliefs. I don't think there is a good painting without this substance. I preach this to my students and fellow artists all the time. (I am entirely misquoted on this score). If you will read my article (translated from the English) which appears beside it on my direction', I think you will see what I am trying to say.

Also, I am referred to as a "representative Japanese artist" which is very interesting to realize that I am considered as such by the Japanese. I am called an American artist here whenever classified.