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of these works I had an association with Jewish East-European Ornamentics, [[strikethrough]] that of [[/strikethrough]] and of the art of crowns on the scrolls, the balsam-vessels, the ornamented eastern wall of the synagogue, done in cut paper. It may well be my private association. But since Lipchitz has always emphasised his Jewishness, I express my thought.

He rejects the whole idea. Of course I am a Jew. I was born in Druskinik, near Grodna. In a very Jewish atmosphere. May be there is something. But not consciously. If you ask me, there is not any Jewish art. And the art of the synagogue - that is very primitive, there is not much to talk about.

I remark that in his day, in Paris, there use to be quite a number of Jewish artists, among them his friend Modigliani. Doesn't he find something common to them as Jews? He looks at his wife who is participating actively in our conversation, and smiles: "I don't understand - why have they all decided Modigliani was my friend." And then he says: "Sutin, for instance - he had done a great thing/ Jews were [[strikethrough]] alwys [[/strikethrough]] always accused in being very rational, intellectual, cold. In Sutin everything is spontanaeous, passionate. But is it because of his Jewishness - - "

I really don't remember if I was first to mention Sutin (because of the slaughtered chicken that hung over my head), but Lipchitz began telling very interesting things, very personal. Sutin had some very bitter memories from his father's home in Russia, and one day, when there was an opportunity to send some money to Russia, Sutin refused to do so. He could not forgive his father, who had locked him in a hen-house. Sutin loved boxing matches, fancy clothes, expensive apartments. let me add, when Lipchitz is speaking about those days, all comes alive, andif it is not so - it is my fault.

We have a drink and say "lekhayim". But then I go back to my former question. I say, that on entering the gallery the first association while looking at the three variations on the subject "between [[strikethrough]] life and death" [[/strikethrough]] heaven and earth" was the crown on the holy scrolls. He likes the idea very much, but says it is very strange, since the history of these works is very far from this. Once, he tells, came to him a priest and proposed that he, Lipchitz, would make a Virgin for a church. I agreed, says Lipchitz, but on one condition, that I would be able to add an inscription. I gave him the text, and he said he must consult the matter. Some time passed without any communication from him. I thought they took back the proposal. But after three months the priest came back and ordered the sculpture. They not only agreed, but they admired the spirit of the inscription. Lipchitz finds a photograph