ended by my buying fifty-two of the paintings of which I let Guillaume have about a dozen at the same prices I paid. The prices ranged from $15 to $30; the most expensive was $30, the sum Guillaume paid me for the Choir Boy, loaned for your show by Guillaume's widow, the present Mme. Jean Walter.
The first article I wrote on Soutine appeared in a Paris journal, the name of which, I think, was Ex Libris, or something like that.
The main reason I bought so many of the paintings was that they were a surprise, if not a shock, and I wanted to find out how he got that way. Besides, I felt he was making creative use of certain traits of the work of Bosch, Tintoretto, Van Gogh, Daumier and Cézanne, and was getting new effects with color.
