our checks at 110 King Street in Manhattan. Since there was always a long wait, we had time to talk about the current art scene. It was there that I learned of Hofmann.

The Hofmann School and the influx of European artists opened my sensibility to new horizons. These associations changed my visual perception. I no longer saw painting as an imitation of nature, but instead as an attempt to interpret nature on the picture plane.

I came to Provincetown to study with Hofmann. I found a most desirable north light studio at the Days Lumberyard, now the Fine Arts Work Center. Primitive as it was, it was memorable because the camaraderie and social and cultural exchange among the artists there. At the time, the group of artists consisted of Hans Hofmann, George McNeil, Fritz Bultman, William Freed, Perle Fine, Peter Busa, and Bruce McKain. In the early 50s, they were joined by Jan Muller, Myron Stout, Myrna Harrison, Earl Pierce, and (continued)