I feel I’m challenged as never before to find something greater in my work and feel the next year will probably be the most difficult. [...] I have the hardest work to do now to find just what I can say and do and do it. Therefore the withdrawal I feel is necessary. (1955)

I am sixty-five next month - my things are scattered with friends and my work calls for greater concentration and contemplation than ever before, I feel [...] there are many inner as well as outer difficulties - it is not easy being an artist these days - much easier twenty-five years ago. I feel I must draw in now more than ever if I am to keep up any kind of a standard - but where? (1955)

My plans are very uncertain. I love the land up here - and it seems either this or New York. The stimulus is in New York, that is, one can concentrate and get more work done, but all my religious paintings were made here or in England. New York excites my mind and given almost any place to paint I can manage up to a point, but I have rarely ever had decent working conditions in New York. England was fruitful as regards Baha’i work all around and I had many ideas there as regards Baha’i subjects. (1956)

I am still at 6’s and 7’s what to do - it seems my best audience is in Paris or Tokyo [...] somehow I think I should return - as I could, I am sure, make some kind of a living there [...] I can’t just paint for money or to please. (1956)

A long time has elapsed since I heard from you and my only excuse is the health and the doggoned „business“ of being a famous artist. The demands for lectures, ideas, suggestions, recommendations for scholarships is growing sickening. (1957)

I feel I must strike new ground - regardless of declining years. It’s difficult but I guess can be done. (1957)

Art comes from Art, as men come from men and flowers from flowers, and there is a Pacific Art which seems to be rising, although first noticed in Paris, and myself named as originator, which I feel is true. Art, if Pacific, must have roots either in the Orient or the American Indian as no environment per se gives „Art“. The language of Art comes from man and migrates as man does. As Malraux said: „Giotto didn’t learn to paint by looking at sheep - but by looking at Cimabue.“ (1956)