Viewing page 5 of 14

This transcription has been completed. Contact us with corrections.

-5-

JL  You know, he wrote me a letter because I had an exhibition at Brummer Gallery in '35. And apparently he was coming often to see it, and he wrote me a letter. You should find it, a very admirable letter, and very flattering to me. And it is very interesting that I should chose this man in a crowd to make his portrait.

EM  Well, he really was very plastic, wasn't he? His bones in the nose--

JL  OH, he had a marvelous head for a sculptor, he really had a very impressive head for a sculptor.

EM  There were no good photographs of him, though.

JL  I can't understand that because it is very difficult. He had a very fine head and at the same time childish, he had something strong and something very, very sweet and almost feminine in his face. You see, all that together. 

EM  Well, he just wasn't photographed by a good photographer, that was the point.

JL  Yes, and probably that would be very difficult. Like to make his portrait was very difficult.

EM  You see, Valente photographed him, but Valente was not a good photographer, and George Platt Lynes photographed him, but he was kind of a fashionable photographer.

JL  Yes, he could make from him the head of a dandy, or something like that. No, it was a very difficult and (complex) problem.

EM  Was Hartley a good model? I mean did he pose well?

JL  Oh yes, he was a darling, a darling model. He wouldn't open his mouth, and I liked him to speak because I liked his conversation.