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22 for learning, learning in a beautiful way, and that's the essence of my collection. I'm not a collector--I am a pupil--somebody who wants to learn. And, of course, I accumulated a knowledge--a tremendous knowledge--not from books--you understand--it was very apparent. STUDENT: Did you know the collector, Mr. Barnes? LIPSCHITZ: Oh, yes. STUDENT: Can you tell us something about him and his personal collection and his period? LIPSCHITZ: Oh, I can tell you marvelous stories. You will not go away from here--if you want, I can. What time is it? Oh, we have time. Well, during the war, in Paris, we had a dealer who started to buy out contracts, [[strikethrough]] oh, but he speculated--he started to [[/strikethrough]] accumulate then, you know--sculptors - it was Rosenberg--because Kanweiler, as a German, was not any more in Paris. He wanted to take his place, and I was among them, I had a contract, so, very little money, but a contract which gave me the security for working and living. Now, the war was a little bit long--longer probably than he had foreseen, and it was probably because he had to support some people-- [[strikethrough]]unfortunate [[/strikethrough]] thirteen, fourteen artists--to support--and it was a tremendous burden to him. Well, during the war and after the war--every day, everyone in his way I was little by little going away from this first aspect of cubism and he was afraid, so he started to give me advice, [[strikethrough]] [[?]] [[/strikethrough]] "Please don't change," so I told him to go to the devil, you understand, and I broke my contract, and I owed him money--and it was very hard, very, very hard. After the war, business was not so brilliant in the art field. I was broke--completely! I didn't pay rent for nine months....I was every day waiting to be thrown out. It was a terrible, terrible time for