“Perhaps it was none of these times, but soon enough after that found me–through the courtesy of the gentle Mr. Weisenthal–at Avery’s apartment in New York City, meeting Milton and Sally Avery and being allowed to spend a quiet hour rummaging privately through a hundred or so canvases. A quiet hour? Well, quiet in my awe, perhaps, but I was engulfed by color, a color sense that I personally find relating most closely to the Japanese woodcut, a bravery and surprise of color that Munch also occasionally achieved.
“I was hooked. I was young and quite poor at the time, and while Avery’s prices in those days were still a laugh, I could afford only one painting. I chose a canvas of two sprawled figures–one ghostly white, the other Avery blue, on a brown field–and went industriously back to my desk to write another play so that I could get some more” (Stretching My Mind, New York, 2005, p. 68).
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