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I object to in the early cubists paintings. Both of these paintings are drawn from crowded urban street scenes, but in "The Dove" the variety of the scale in the human figures is such that some of the faces really function as areas of pacivity. The robes in "The Baptism" fulfill a similar function in the counterpoint of positive and negative areas. In some of his great figural compositions, Zurburban employed his flatly modeled drapery for the same purpose. 
Another technical problem, with which I am now involved, is the interplay between the photograph and the actual painting, so that I find myself adjusting colors to the gr[[e]]ys of the black and white photograph. This adjustment to an over-all gray is, of course, not new to the art of painting. Even in what remains of some Pompeian frescos it appears apparent that is spite of the orange-red backgrounds, the figures and drapery were painted in tones of black, white and gray, with the flesh tints glazed over this gray range of colors. The deep browns and reds, which we associate with the great frescos of the Casa Mysteria, actually emanate from the background on the grayed figures and objects. In the early decades of this century, before full color methods of printing were established, the old two color process had a more extensive range of color than one would have thought possible, because of a similar interaction of colors. 
In many of my paintings I use either a blue or green color to hold with the gray, since both of these colors are related to gray by analogy. Sometimes, in order to heighten the character of a painting, I introduce what appears to be a [[dissonant]] color, as in "The Approaching Storm" where the reds, browns and yellows disrupt the placidity of the blue and green. I found, when I was