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                           "A Lincoln Portrait was a favorite of many
of the 
                           students in Madison. How did you choose the objects
                           for this picture?" 
                                "A Lincoln Portrait was actually one
of the very 
                           first paintings I did in my still life vein. I
tried to find 
                           objects that might go together and tell a kind
of story 
                           and I selected the idea of objects that would
surround 
                           and echo the idea of the Lincoln Portrait itself.
                           29 
                           "In the details that we can look at you can
see the 
                           texture of a vase that accompanies the portrait
                           and here I used one of the vases that I did in
coopera- 
                           tion with Carlton Ball, a well-known ceramic artist.
                           I was experimenting with the use of many textured
                           objects, which would tend to make a rather interesting
                           variation in my paintings. 
               430 
                           "In the final detail, that we see where the
Lincoln head 
                           is greatly enlarged, I think you see some of the
actual 
                   .....texture  of the  painting, which  isn't apparent
on view 
                           of the painting itself, because this is a greatly
                           enlarged section of the entire composition. I
think it's 
                           always interesting to look very closely at portions
                           of an artist's work to see in whichmanner he actually
                           put the pigment onto his canvas." 
                   .........3 1 
                           "In Animal Kingdom, how did you make the
horse 
                           so shiny?7" 
                                "The horse required a good deal of trial
and 
                        I err or to see howlI could reflect the shiny texture
of 
                          the painted Iron horse so that it had almost as
much 
                          brilliance as the actual object did. I looked at
the 
                          horse very closely and I examined the source of
the 
                          light, what portions of the horse's body were being
reflected by the highest highlight and which portions of the horse were in
relative 
shadow, and I tried to get that feeling into the painting." 
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