Viewing page 22 of 140

This transcription has been completed. Contact us with corrections.

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