116

for Kubin it meant "working towards the feel" of something, "scenting" it "out." His world of images existed neither in nature nor in the mind ... p 167

Great stage director as he is of the visual, the formal, the scenic, Ensor always has an eye for the total event, at least in his best works. Every detail is subordinated to this grasp of the whole. Many of his works are thus to be seen as abstract compositions.

This kind of thinking in the abstract was completely foreign to Kubin. For him creative process took quite a different path. It is the content that looks for form, that determines the form. Composition is given only second place. It was something Kubin regretted. He said of himself that he had no talent for form, he was a draughtsman, but he was also a "brooder" and a "seer."

p 171

2-16-84

117

N York Review of Books - March 1 - 1984

The Two George Grosges by John Willet

There is a late crop of mildly Dada collages which have often been reproduced, along with many other signs of a wish to pick up threads from the artist's own past, though generally in a more muddied and indecisive technique and with symbolism in lieu of the old aggressive realism. p 34 (my underlining)

Eudora Welty - One writers beginnings - Harvard 1984

In writing, as in life, the connection of all sorts of relationships and kinds lie in wait of discovery, and give out their signals to the Geiger counter of the charged imagination, once it is drawn into the right field....

....What I do make my stories out of is the whole fund of my feelings, my responses to the real experiences of my own life, to the relationships that formed and changed it, that I have given most of myself to, and so learned my way toward a dramatic