Viewing page 1 of 19

This transcription has been completed. Contact us with corrections.

ROGUE in 1916 was revolutionary paper, printed by Alan Norton, a close friend of Marcel Duchamps. It was very, very avant garde.

While dining with Marcel I said I did not understand modern art, that anyone could do it. He suggested I try. At home I did a drawing called "Marriage d'une Amie." I thought it a sorry affair, but Marcel liked it, immideiatly [[immediately]] had it published in Alan's paper.

Then he encouraged me to paint, knowing I was not espeically [[especially]] happy acting. I was then playing ingenues in French at the French national Theatre in New York.  Knowing there was no room at home, he said I should come to his studio and draw, first phoning to see if it were convenient. Usually he answered yes, occasionally "No". I understood the no meant a lady was with him. Friends laughing explained he chose not attrac tive [[attractive]] ones. He ampliefied [[amplified]] the sitaution [[situation]] insisting that unattractive women made better sex than beautiful ones, and that sex and love were two different things.

Though sophisticated intellectually for I had read the classics, the Russians, the French, in actually i wore a robe of innocence, that amused the men I was meeting, and also was my protection. I partly lost this wonder when I fell in love with Henri Pierre Roche, a close friend of Marcel's. Roche, Marcel and I were a three some; we called Marcel-Totor. Though in love with Roche, I would dream of Marcel, for he had an incredible charm, and everyone who met him, adored him. He had penetrating artistic perception and a guileless smile that came from heaven. Marcel and Roche enjoyed teaching me foul French words, of which I hardly knew the meaning, and therefore used them in proper company to the consternation of those present.

We were as much in revolt against hypocracy [[hypocrisy]] as young people of any generation. The famed artists and writers of the day, meetting [[meeting]] at the Walter Arensbergs would have long discussions on the evils of the jury system. I would be at the Arensbergs evenings once or twice weekly, entranced with the company, too young, too much in love to pay attention to the conversation. Besides at midnight drinks were served and large trays of chocolate eclairs would appear from the kitchen. I did not drink, but the eclairs were memorable.

Thus a group decided to sponsor a large exp [[strikethrough]] ti [[/strikethorugh]] sition [[exposition]] at the grand Granada Centraal Palace where anyone could send in two paintings with a fee of $6.00.  This is abolish the jury system at one stroke. The day before the opening Walter Arensberg and Rockwell Kent were having a heated argument in the sculpur [[sculpture]] department. Kent was shoulting [[shouting]] that a certain piece of sculpture could not be shown, because is was indecent.

Walter replied, "But that is in the beholder's eye."

Kent. "WE cannot show it, is gross, offensive."

Walter, "But it is the man's choice,  He sent in his $6.00."

Kent. "Never matter, there is such a thing as decency, an end to how far a person can go."