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Q. How about later. I'm thinking about something like "Girls Jumping Rope" where rhythm and swirling movement are such dominant qualities?

A. That would be the forties.  Having lived in the south for such a long time I was always stuck by the kinds of games that children always play. Jumping rope is of course an old form of play but these Negro girls seemed to have a real talent for creating all kinds of styles of rope jumping.  It presented two things (among others), one, an aspect of the life style and, also the rather dramatic and repetitive movement which was dynamic at the same time.  Movement has always appealed to me - you can see that in the "Amistad" murals. Movement has always been the one aspect of painting that I've always been interested in. 

Q. Would you say that movement was a major characteristic of the "Atlanta School"? This, of course, assumes that you would call it a school. 

A. Well, some persons have designated it as the "Atlanta School" because there were a number of us working very seriously at the time - I don't know if you know this, but they called it the "Outhouse School" because in those days we went out to paint landscapes in the Georgia hills and the landscape was dotted with outhouses and we incorporated these in our paintings. 

Q. I notice that people like Wilmer Jennings, Fred Flemister and John Harvard employed a certain kind of "approach" to the landscape which reflected on the kind of work that you did.