Page 34 - Studio International - March 1974

Extract from an earlier interview Manessier that you liked ? was really there from 193o to 39. I had three
RH: I could have added something, that I no RH: Yes, I was influenced by him at the time, studios and a hotel room. I spent most of my
longer make any distinction between abstract that's true. Yes, but much earlier, before the time in the hotel. I liked the art school . . .
and figurative, as I can mix them up as much war. You see, I was at the Slade. I was called Academie Ranson. The great difference
as I like. The point was, d'you see, I was one of supposed to be a doctor and I failed two was that the teacher, who was a very good
the first in the field with very abstract college exams. I think it was my mother, really, teacher, came on Saturdays; so you could
paintings. Not so neat as Nicholson for instance, who pushed it through. She used to be at the get on with the thing—you weren't pestered by
who was far too finicky and tidy. Mine were Slade and perhaps she knew Tonks. silly asses looking over your shoulder. The
really brash, but completely abstract, there was Obviously there was no particular skill about my atmosphere was very pleasant and there were
no suggestion; well I did start to figurate to work anyhow old Tonks said 'I think he'll make people of all ages, and they had a very good chap
some extent shortly after that, in fact I've tried a draughtsman !' I went in 1928, Tonks retired to arrange the models so that it wasn't just some
to do it for some time. But now I've got to a and one day I was strolling up the stairs, I met bit of old flesh sitting there.
stage where I think, to hell! It doesn't matter Schwabe coming down, and he said : 'Well, I: Did you meet any important painters ?
whether you figurate or abstract or what. we've decided to offer you a scholarship.' Well,' RH: Well, I was rather timid or something
I: What is interesting about all these gouaches I said, 'well ,thanks very much but I'm going like that I suppose. I'm not like some people
and the red is that so many seem to echo back to Paris.' So off I went, with a certain allowance who barge in and go and see Picasso.
to various periods over the last twenty years, I from my Daddy. I think he gave me a hundred
mean this goes right back to 1953. Was it and fifty a year. I lived like a prince on that. So I

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(Above)
October 1953 (White, black and ochre)
Oil on canvas, 24½ x 29½ in.
(Left)
November 1963 (Green)
Oil on canvas, 6o x 5o in.

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