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eliminated them altogether. This brought about additional compositional problems which Holty explained in a letter to me in November 1952:
-"There is no small col[o]r spotting as there was although I put some of each color in various parts of the picture, but in relatively small amounts. As soon as I feel a shape, figure or otherwise, becoming isolated or particular, I sweep the whole rhytmns with either white or another discernable color (discernable from those already there)..."
-"The drawing becomes more and more to appear automatic as I work along because I change the drawing totally as I work over it..."
Holty commented on the fact that in looking at some of his older figural studies upside down he found landsape motifs he really wanted to paint. He wrote: 
-"Another accident? I don't think so. It was like finding the forgotten name or incident that baffled memory, by not thinking about it. 
There were the figures, not in the space I designed them in because that space is a hodge podge of my studies, but in a space I recognize as natural to me only. That space is also, I imagine, a developed one, but developed out of a personal necessity, as well as out of study and approval of related or similar space concepts, and I think I know now just what Leonardo meant by looking at the spots on the wall for compositions. He saw his particular world, perspective and all, and I see my particular world because, actually, there is nothing there but a release from preconceived ideas."
As he developed these concepts he made other necessary adjustments in his composition and color. Once he showed me some reproductions of