IN 1994 a letter arrived from John Berger out of the blue. He had seen a bit of my work and liked it. We began to write to each other.

Four years later we met at an exhibition of John’s drawings at the Purdy Hicks gallery near Tate Modern. John’s eyes are penetrating, curious about everything and never far from laughter. He exudes energy.

In the summer of 2000 John visited my studios, saw my drawings of my muse, Henrietta Moraes, and pronounced that they should be published as a book, to which he would contribute a text. Maggi and Henrietta, drawings of Henrietta Moraes by Maggi Hambling was published in 2001. John’s preface is a profoundly moving meditation on love.

In October 2000 I went to stay with John in France. Yves Berger, his son, organised drawing sessions in his studio at which we all drew each other. John draws, as he does everything, with great intensity, concentration and naturalness.

He interviewed me for Modern Painters in 2001 about my drawings, painting and sculpture of Henrietta and Father. He sent me questions, but they were scarcely conventional: for instance, he sent a photograph of a tree and asked me what it resembled.

John’s thinking and feeling come from another place, stop you in your tracks, force you to question as he questions. As a true artist, he seeks the truth. He is also generous, encouraging, patient and funny.

When I was asked to show some of my drawings of John he phoned in trepidation that it might turn him into an icon. The long overdue celebrations of every aspect of his creative genius may well confirm his standing as an international living treasure — but don’t tell him!