b'JKR: Oh, absolutely. In fact, I have some in theNMO: Has your work always been this big? I look studio that I look at for reference and clarity.at the pieces and I feel like I could walk right in.NMO: You have used Marcantonio RaimondisJKR: Yes. I did some large paintings when we engraving after Raphael, The Judgment of Paris,lived in Scotland. Painting on a large scale is, as which was also used by Manet for the positionsthey say, an arms-around-you experience.of the figures in his Le Djeuner sur lHerbe. NMO: How is it different from painting on a JKR: The print after Raphael is masterful insmaller scale?its academic formality. Manet has none of that. He is looking at the print like an illustrator.JKR: One can be freer to put so much into it. He is telling a story but, at the same time, he leaves out the intricacies of Raphaels inter- NMO: It is almost like you are trying to recre-twining of figures. I have been working onate the scale of the park.these figures for years and I realize how diffi-cult that is to do. JKR: Its a trick trying to get the buildings to feel as big as they are.NMO: Yet you included a picture of the Manet in your own painting.NMO: Do you always go to the same spot?JKR: As a theme it is appropriate, and ManetJKR: Usually. There is a geometric thing go-fascinatingly updated the image to the style ofing on with the blankets and the buildingshis time.Mondrian would have loved it.NMO: Did you see the George Bellows exhibi- NMO: You seem very true to what you are seeing, tion recently in Washington, D.C., and New York?but you are also interested in the shapes and pat-I see some connections with your work there. terns, so you must be making decisions out there.JKR: As a child I adored the Ashcan School.JKR: When I look at the park, one of the things They tell a story. I am interested in telling a story.that I am seeking to see is the underlying math-'