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abt London [[strikethrough]] TUESDAY, MAY 19, 1936 [[/strikethrough]] 140th Day Rogation Day 226 Days to come Cont. S.S. Wash too many names of the artists - though I remember the works, & I didn't see more than 3/4 of it - or more than a half carefully. But the thing I simply must write up - if only in list form, because of my bad memory for the names of the things - is the Chinese Exhibition, which [[strikethrough]] as I [[/strikethrough]] was [[strikethrough]] one of the [[/strikethrough]] a real experience to have seen - & for an art [[strikethrough]] ist [[/strikethrough]] student one of the best experiences one can remember. I saw the Gainsborough exhibition on the same day as I first went to that (I went four times to the Chinese one) - & somehow it seemed like such a small tangent in art - quite naturally being only by one man, but all the Chinese artists were a whole world embracing every side of art that matters, & one representative of it [[strikethrough]] w [[/strikethrough]] might be like any of the others in his world wideness, whereas Gainsborough wouldn't. The timeless & impersonal quality in the Chinese art is something big - reflecting the world they lived in, rather than the world of each individual abt London [[strikethrough]] WEDNESDAY, MAY 20, 1936 [[/strikethrough]] 141st Day Rogation Day 225 Days to come Cont. S.S. Wash artist's imagination, & their work combined [[strikethrough]] the [[/strikethrough]] at once the most important fundamentals that exist in art i.e. - [[strikethrough]] design, [[/strikethrough]] composition, pattern, values, perspective, form, technique, drawing form, color, & the infinite selfless patience needed to bring all these things together in perfect harmony with [[strikethrough]] tremendously amazingly [[/strikethrough]] amazingly skillful workmanship. The notes I wrote are - they often draw geese & rivers [[strikethrough]] & [[/strikethrough]] etc in long strips telling a story (the way I used to do with animals as a child) - & their lives are often round - round curves of flesh in humans & animals (also what I do - but Stewart tells me not to) - & they do fur & feathers so successfully - putting five lines for each hair within as well as without for a delicate outline. For example, they would take a dark brown piece of pongee looking material - & do a duck - with the forms inside the outline divided by lighter fur lines than the material itself - & the outline would be darker than the material. They are very childlike about the eyes & nose & mouth
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