I also hang the largest pictures so that they must be first encountered at close quarters, so that the first experience is to be within the picture.

I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.

Since my pictures are large, colorful, and unframed, and since museum walls are usually immense and formidable, there is the danger that the pictures relate themselves as decorative areas to the walls.

Small pictures since the Renaissance are like novels; large pictures are like dramas in which one participates in a direct way.

This would be a distortion of their meaning, since the pictures are intimate and intense, and are the opposite of what is decorative; and have been painted in a scale of normal living rather than an institutional scale.

From him I got my love for music, and for many years I was the classical music critic for magazines that have since folded, such as Musical America and High Fidelity. During the last year of his life, I would come to the studio, and he would arrange a corner for me with a canvas and paints. I don't think that I saw him paint. He didn't allow anyone to watch him. That was his own private affair.