I could write pages on how Reverón and his mistress lived—his home was a combination zoo, museum and jungle....
Reverón firmly believed that canvases took away from a painting—the medium had to be a part of the painting—burlap depicted his feelings of La Guaira and the burlap itself became the major part of his painting, even the ocean and power house at Macuto consisted mostly of burlap—and I was fascinated how the burlap transposed and became a transition of dirt, land, and huts and ocean, waves, water, and land.
His paintings produced a wistfulness and a mistiness that could only be appreciated by standing back 30 or more feet and studying for long intervals, his paintings under various forms of light—sunlight-shade-rainy-cloudy-and gloomy days—artificial light takes away from his paintings...
In the ten months I knew Ramón Reverón, I was the only one to secure two paintings ...my belief is—that very few of his paintings found their way to the public and only at the rate of 2 or 3 a year—Each painting was his heart, his blood, his soul—his great love—and it was almost impossible to buy a painting.
-Nat Weisblood, October 27, 1966
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