Picard closes the discussion by saying that Nonda essentially paints “ the force and the sentiments which exude profoundly from the faces, the bodies, the lights.” He also describes the process of his own portrait being drawn, as well as a series of extended meditations on selected works, notably the coveted “Nativity” which the artist refused to sell, and a portrait of a beautiful young dancer from the Paris Ballet. Wherever he went, Nonda seemed to exude an aura of passionate intensity which intoxicated those around him. He held firmly to an artistic integrity that one might trace back to his father's influence as a fine tailor. His father had been known to rip apart suits in which one stitch was misplaced by a worker---this sense of incredible dedication and discipline to a craft carried over from his work into his life. The energy of this devotion and confidence in his art could also lead to fury at the opportunistic dealings of gallerists or other “fashionable” artists. This independence also resulted in decisions which were harmful to his career, such as the invitation from the Art Institute of Chicago, which he left unanswered, and his refusal to court critics and art dealers---but the force of his work and his sense of artistic freedom was very much linked to this uncompromising stance.