Everybody's Autobiography Read Online Free PDF Page B

receive a wonderful inspiration and it is based oh yes it is based on ignorance, on their own ignorance because of course a Spanish notary does not know anything and has had no means of learning.
    Now alas it is changing they could go and learn just like any one but until then a Spaniard was naturally ignorant. There was one exception and that was Juan Gris he had no natural ignorance, he complained bitterly when his son came up from Spain where he had been raised and had the ignorance that was natural to any one who was a Spaniard, but Juan had none, and yet he was an exception, but I suppose naturally among all the millions of Spaniards there must be once in a while an exception. The South Americans have something of the same thing only with them ignorance tends to soften and so make as Guevara says of all Chileans a soft center inside them, but the Spanish ignorance may dry up as the center but it never goes soft or rotten.
    Anyway Dali as a young one came from Spain and very soon everybody was excited about him, and the surrealists had known about him before he came and before him had come Miró. However Miró was nice and excited every one by his painting but he had nothing to follow up his painting more than just the natural center of ignorance that any Spaniard has inside him but Dali had a special one and so he kept on being more exciting.
    They knew about him in Paris before he came, surrealists had heard of him. He was the son of a notary and he had the feeling in him of painting like Picasso and like surrealism and he did and some of these early pictures enormous and with big shapes are full of energy, and then he came to Paris and soon everybody heardof him. He painted a picture and on it he wrote I spit upon the face of my mother, he was very fond of his mother who had been a long time dead and so of course this was a symbolism. He knew about Freud and he had the revolt of having a notary for his father and having his mother dead since he was a child. And so painting this picture with this motto was a natural thing and it made of him the most important of the painters who were surrealists. Masson’s wandering line had stopped wandering and he was lost just then, Miró had found out what he was to paint and he was continuing painting the same thing, and so Dali came and everybody knew about him. It is awfully hard to go on painting. I often think about this thing. It is awfully hard for any one to go on doing anything because everybody is troubled by everything. Having done anything you naturally want to do it again and if you do it again then you know you are doing it again and it is not interesting. That is what worries everybody, anybody having done anything naturally does it again, whether it is a crime or a work of art or a daily occupation or anything like eating and sleeping and dancing and war. Well there you are having done it you do it again and knowing you are doing it again spoils its having been existing even as much as it spoils its going to be existing. A painter has more trouble about it than any one. Most people at least do not see what they have just done a writer does not see what he has just written, a musician does not hear what he has just played, but a painter has constantly in front of him what he has just painted, his walls are covered with it, when he comes back to his picture to go on there just under his eyes is what he has just done. An actor a cook nobody else has so continually before him what he has just done. And so a painter has more and less trouble going on than any one. I am often sorry for them. I know that I am the most important writer writing today but I never have any of my books before me naturally not, but they have all the time naturally everything they have just done right in front of them.And like it or not that is the way they are and have to be. Now in the old days when they were so they said copying nature after all there was something there anyway even if