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2
July 21

Museum directors, the Carnegie Int show judges, the newspaper critics in N.Y., the art magazines all behind the times, supporting an old order and suppressing the most progressive? Or am I to renew my faith in them?

What about social painting? I think it is much more significant than doodling. But where are the S.F. social painters?

Yesterday I hiked with Walter along the beach and around Land's End. The beach is gray, green the water, cold, the gulls flying in white, the sea mists blowing over the sand. The rocks gigantic, the cliffs old brown, soft, crumbling and yet [[strikethrough]] has [[/strikethrough]] strong, of granite. The sea meadows full of flowers and blue green grasses. I thought it was beautiful - but not so grand as when I first saw the cliffs from the ship. Yet I was stirred; restated to Walter my one purpose in painting: to present land: how land begins at the shore; how distance inspires greater dreams in man; what land means, what sea is; and the shores and hills by the sea always giving us great dreams.

I was dining with Walter in a Japanese restaurant, and in the midst of intellectual confusion over art and social painting I saw the essence of art in a vision. It was of a painting I could paint:
[[image]] reef, stick, golden sand and a silver sky. It reminds me now of Klee's "Poison," of Siporin's work, of Kuniyoshi. But it is very much like [[strikethrough]] very [[/strikethrough]] what my White Morning [[strikethrough]] sug [[/strikethrough]] could have been.

Transcription Notes:
Cannot read last word on third to last line of note - see [[?]] I found kuning asli, which is Indonesian for 'real yellow' but I can't figure out if it's an artist.. NOTE: It is the artist Kuniyoshi, mentioned elsewhere in the diary