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over common problems. It was Hale who suggested the name Spiral.  It was Hale who suggested the name Spiral.  He had in mind a particular spiral--the archimedian spiral--in that it moves outward and upwards, symbolically embracing all peoples, yet moving them toward a higher level of achievement and comprehension.  All of us, even my dear friend the late great painter Norman Lewis who double checked everything, defered to Hale, because we realized he spoke with understanding, compassion and authority.

Through the years, I very much enjoyed talking with Hale of his admiration for the old masters, of African sculpture, ofwhich he had a large collection, and of his knowledge and insight into pictorial composition.

Hale was a remarkable draftsman and I often study a charcoal drawing he gave me.  Drawing, the ability to delineate an image that is in ones mind, is in my opinion, a prerequisite for all the graphic arts--even for those artists whose main emphasis is for non figurative work.  As the French mast Ingres observed, drawing in the conscience of the artist.

Some of Hale's early paintings, I'm thinking of those done during Hale's student days in Paris, show a genuine knowledge of what Cezanne was about, and an appreciation of the dense space of the Cubist painters.  Actually, Hale was among the few American artists in the early decades of this century, who dared venture from the accepted academic, romantic tradition of the time.  It is difficult to realize, now, that in the years before the acceptance of the modern tradition, how many artistic prejudices had to be overcome by pioneering artists such as Hale.

In the early 1940s Hale's style showed all the technical excellences of good drawing, solid modelling, and the broad massing of light and dark areas.  Hale was a lover of energy.  His landscapes, his hills and trees, were as robust and unyielding as his well modelled figures.  This style of Hales' middle period culminates in the