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A. Well, the color of the hills of Georgia is very different from the color in El Greco and Cezanne - the soil [[strikethrough]] is a very [[strikethrough]] itself is a very deep red clay and that is basic - you know. [[strikethrough]] We tried [[/strikethrough]] That actual color - the local color, literally, became the source of our color in our painting. We had no theory like Cezanne which derived ultimately from Impressionism. We felt that the essence of our painting should derive from the essence of the environment. 

Q. Much like the "Girls Skipping Rope"?

A. That's right.

Q. Do you attach any social significance to the painting of the "Atlanta School"? [[strikethrough]] work? [[/strikethrough]]

A. I think that there was some social significance involved. We were very much aware of the social limitations under which we had to live and the life was uniquely southern and black people lived a very different kind of life then as we do now. While there was no violent protest there was protest in our work. I did a series of woodcuts on lynching. You must bear in mind that I had just returned from Europe where cubism was in vogue and I discontinued the cubist approach and went into a type of painting which was derived from and inspired by the southern environment and it had to be, if not violent protest, a recognition of the social and environmental differences [[strikethrough] between [[/strikethrough]]

Q. I thought I detected in that series of woodcuts something else as well. There seems to be a kind of celebration, an affirmation of the black life style - a reflection of a kind of strength to endure - am I correct in saying that?

A. Yes. I think that "Sunday Promenade" and the "Three Musicians" typify that aspect. These were done with a direct unequivocal approach in terms of the subject as well as the method of handling. This is probably why they are without "style". I tried to reflect the assertiveness which is unique in the black lifestyle. This is what I believe in - not only in