 Yes, I don't know if I'm answering the question, but the most I work on Matisse, about Matisse. The more I admire his lucidity, his consciousness, and the way he controls the reproduction of his work. It's the exacting meticulousness with which he controls his words, of course. And the translation of his words into, for example, Aragon. He controls the Aragon text. But also the material reproduction of the cutouts. Before the drawings, well, I think it's very important perhaps to explore even more that field. It occurred to me that most of the talks, and I'm thinking particularly about Ann's, that much of what we're dealing with is how the artist presents himself to the public in many different ways, commercially, or whether it's through writing or whether it's through the carefulness. And Isabella showed the image of Max Jacob that I mentioned that was in the Special Exhibition. It seemed that Matisse was able to navigate so many different modalities in a way that Picasso ran into difficulty when he reverted to that Congress style. I'm curious if any of you have a notion as to why Matisse was able to be so proliferative in multivalent ways. I think there is a point we have also to remember that in the same day, Matisse can practice drawing. He can make sculptures. He can make different things. He can make all these things put together, some wishes as they gave value to each other. And it gives to Matisse a very big freedom, and he can make a lot of experimentation in each technique. And that opens a lot of doors. And this morning at the end, the lady would say, oh, there is one in the paper cut out. And of course, we have a link with older, and it's opened so, so much doors. And each time we try to understand and to close the door and to say, now we are finished on this part. And we discover a new thing, we make a new link, and you make a new point of mind about Matisse. Just to say quickly, I think it's the same with the Matisse's writings and statements. We can think that everything has been told about knots of a painter, sorry, of 1908 after Roger Bantejamin's book. And I think we can find so much things again in archives and in the journal. So I agree with you that we have so many doors to open. Thank you. Tom, as you and some others in the room know, my wife and I had a very large collection of Matisse illustrated books, which were on exhibit at the Morgan Library about a year ago. But if you talk about proliferation, there was more copies of those books than any other kind of work of art, the prints, lithographs, etc. For example, Charles Jereland was a publication of 1,200 copies, all of which were signed by Matisse, I believe. And the others were several hundred. But there's been no mention of illustrated books here today. But I think late in his life, he must have designed, at least in part, wanted to produce them in large quantities. So his work would be proliferated among many people. Yes, we know, for example, thème et variation was intended specifically for students of art. It was not a cheap edition, but it was not a deluxe book in the usual sense of the word. And Matisse's expressly intended to have the book diffused largely to the students, for example. Do you think that Matisse gave himself 50% to himself for his 50th birthday? He was published six weeks before his 50th birthday. Yes, I know, but I don't think so. I don't imagine he was giving... No, I don't think... I think it was, as I tried to explain, it was a gesture. I don't know exactly, certainly not only to answer Picasso or to be, of course, it's just an aspect. But I don't know, perhaps a gift for his daughter, perhaps... We never know. There are multiple reasons, certainly. They answer to each other during most of their careers. So they look at each other and answering in a way. Yes, certainly. This is for Ms. Théry. Roger Benjamin's reading of Notes of a Painter that you referenced in your paper, and just a moment ago, came out of his dissertation, the dissertation you wrote for Bryn Moore. And I just wanted to mention that there is another Bryn Moore dissertation from 2005 that is also an interpretation of Matisse's writings. It addresses all of the writings, not just notes of a painter. The title of it is Color and Alienation, Matisse's Theory of Art. And I only mention it because I don't know to what extent you're going to deal with other scholars on writing about Matisse's writings. But I thought you should know it exists, and it might be as amused to you. And good luck on your dissertation. Thank you so much. It's on my list of readings. Thank you for everything. Yes, yes. Thank you very much. But I didn't have the time to mention all the Matisse's works on Matisse's writings and statements. But thank you very much. It's about the single nude drawing. It's such a curious drawing. No, but there are more than one nude in the... Okay, so are you... No, no, there are many more. And, well, I could not show the whole... Not that one. The other one. Yes. No. No, I think it's... At the beginning it's the third or fourth. It has a little scratching on the arm? I was curious about that. Yes. Yes, this one. The pattern on the shoulder and the... Oh, it's... There is a quantity of drawings, not only those selected in the 50 drawings, but a lot of strange drawings of Antoinette in the nude, the nude Antoinette. I remember four cards when, a long time ago, when we selected the drawings for the exhibition Musée Nationale d'Art Moderne, 40 years ago, something like that. He was fascinated by the drawings of Antoinette nude with the chapeau à pluie. There is a lot of these drawings. And, well, I don't know. I was just asking a question about the transparent... I guess it's transparent shawl or robe or something. Yes, sort of gloves. But you can't really see the robe. You can only see the marks on the body. And I think it's just a striking detail. Interesting. Thank you. Sorry. So, it's a question for John. So, obviously, you have been thinking a lot about the status of the paper cutouts and maquettes and so on. How would you consider the elements, the so-called elements? Exactly the way the Métis Museum... Kind of archives then. An archive. Thank you. Thank you all very much for participating.