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A. This is quite possible.  There were, however, two artists who should be mentioned - El Greco and Cezenne. The power and vitality of the painting of these two was very forceful and I was impressed by them.  One cannot avoid influencing others - students influence each other, as you know. So it was inevitable that our work would reflect a similar approach to subject matter because we worked so closely together. 

Q. Was there a difference in the use of elements between your work and that of Cezenne and El Greco? I'm thinking of things like, say, color.

A: Well the color of the hills of Georgia is very different from the color in El Greco and Cezenne - the soil itself is a very deep red clay and that is basic, you know. 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"?

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.