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Also [[strikethrough]] his [[/strikethrough]] Marsh's great admirations [[strikethrough]] among artists of past centuries [[/strikethrough]] among artists of past centuries, the giants of the Italian Renaissance, used much impasto; and the paintings of Rubens, whom "movement and exuberance", Marsh felt, "held a new-world quality" have much opaque body color. But to solve his own problem, Reg was convinced of the overwhelming importance of transparency.

Since the special [[strikethrough[[ power [[/strikethrough]] powers of painting (water color and egg tempera he always loved, but found [[strikethrough]] somewhat [[/strikethrough]] fragile) require some opacity, painting [[strikethrough]] always [[/strikethrough]] often posed a dilemma, in some degree. But etching and engraving are austere and powerful and transparent; he found them capable of expressing, within the stability of their form, [[strikethrough]] the [[/strikethrough]] his passionate exploration of lively, disorderly, heterogeneous and incongruous aspects of American life.                          

Transcription Notes:
I think this is correct but it got fuzzy around the second paragraph. Strikethroughs added; corrections made. s.