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4.) It is important to paint-under in the lightest and most pure spectrum colors and quite white under yellow and light tones, yellow under red, orange, green; white under blue.
5.) The entire ground would be underpainted, no spots left untouched, with permanent and light color: since the overpainting leaves [much], at the contours of various colors. Exposed (uncovered)
6.) Do not try to overpaint a picture at all, if it looks whole or partly unsatisfactory. Rather scrape off or paint another canvas. Proceed to new work. -
I here forgot to carefully wipe off any grease of the lead ground; I used too much kerosene in the underpainting.
No cracks, no rubbings, no darkening or yellowing, or flaking appears 1914 June 1914. I am dissatisfied with this first picture as with all those of 1911 and have scratched them all down somewhat, soap-washed them and made new charcoal and color studies in order to make a (compromise) bigger and simpler impression (partly, where possible re-composed). This picture in the blues, reds scratches off easily, less so in water & sky. The cadmium easily comes off in soap wash. But the solider oil color of water & sky sticks well to the oil ground. - July 1916 restudied charcoal #2 because the watercolor (exhibited at [Stieglitz] Nov. 15) has no design-character.
New small sketches, & notes page 444