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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. 

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. There 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 life style. This is what I believe in - not only in art but in the total scheme of things. While we can assert our belief in "soul" and the like, I think that the magnificent dignity of the black man is very important and this has been the undercurrent in all my work. This, by the way, is a major characteristic of African Art. There is in all African Art a magnificent monumental dignity which is the legacy of African Art to the black artist. This quality of dignity must be reflected in everything the Negro-Black men undertakes. 

Q. Who were the most prominent members of the "Atlanta School"? Where are they now and and what are they doing.