I am essentially a painter of the kind of still-life composition that communicates a sense of tranquility and privacy, moods which I have always valu… - Giorgio Morandi

I have received your critical essay [of C. L. Ragghianti who visited Morandi's studio frequently and watched him painting] for the catalogue of the Mattioli collection. I must confess that I am not a little disturbed by what you say. I shall say no more. My own desire is to continue to live with a little peace, which is the only thing that still allows me to work. I am sure I am worth much less than what you say. Not out of modesty, believe me. I only wish it were as you say. If you could, please avoid the comparison with Picasso. Furthermore I must point out an error of fact where you say on p. 4 that 'for those who might not know, Morandi draws, tries out plans of his compositions, etc.., etc..' – and you have had the occasion to see the plans of objects on my table. This only serves to immediately recover my position when I reassemble a composition. Nothing more. Another thing.. ..[tracing the shape of his feet on the floor].. ..it's to mark a reference for re-establishing the point of view. Think about this, then. I am grateful for your concern, but believe me when I say it leaves me ill at ease.

..my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin [famous for his still-life], w:Vermeer and Corot, too.. ..that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne.

I am now working on a still life with a bottle and other objects spread out on a plane and it seems to be turning out well.