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of Modern Art in New York, was there. I think he was a member of that summer colony. There were quite a few People that we knew there. He had been talking to l Susanna and some of the others. She telephoned me and said, “Mother, do you know that there are thousands of artists who are out of work?”
I said, “Well, let them stay out of work,”
“But, mother, they are good artists and something ought to be done for them, If everybody else can get a job, why can't artists get jobs?”
I remember saying to her, “Well, They can get jobs if they're actually in poverty. They can get a job mending the roads, or whatever they're doing in Vermont.”
She kept arguing with me and came bursting down to Washington. She's a nagger by nature, and she nagged me about these artists until I began to realize that there was something to it. Here were people who had a special talent, and, of course, they were in dreadful condition. They never were rich. Artists practically never are rich. The rich portrait painter is a rarity among them. Yet they're exceptionally good people. They're perceptive people. They're people who have insight usually into what's going on in the world, into the meaning of life and the feelings of other people. They have talent and they have training in some cases. Some of them have made a living
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