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7

G: Were you working in oil then?

Y: Oil, yes ...

G: When did you switch to acrylic?

Y: In the early '60s.

G: And I gather now you only work in acrylic.

Y: Right, but I do, every now and then, do an oil at home.

G: Just to keep a hand in?

Y: Actually, I like the versatility of oil painting.

(Here there is a break for a telephone call.)

Y: Earlier we talked about my asking students to find their own source material and you mentioned something about the approach of copying old masters and so on. I wanted to add to that, because although I ask young students or artists to begin looking for source material of their own that approach isn't necessarily negating old masters or tradition, because I still expect them to sort of do good drawing, good form, good color, good line -- so I don't know whether there should be such a differentiation between...

G: Well, it seems to me in fact that you have, in recent years, as I was saying to you, sort of combined both these ideas which would seem to be to be ideal ones, to both look around you and to art history for sources and technical kinds of assistance as well. I think that's happening now, although I think there was a period in the '60s when probably most artists kind of turned against the past. It