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[[underlined]]Aug 10-11. #4[[/underlined]] 20x30 [[underlined in yellow]]Linen Canvas & W L Ground[[/underlined in yellow]] partly (foreground) much yellowed. Well washed with soap & water, dried. Then much poppy oil and Z. white for light, + perm blue for shadows painted on, instead of lightly oiling it, thinking the washing had made the lead ground porous and the oil would go in. It did not, however, and I had to take it off with papers and brush and painted Cambridge white into the undercoating, so as to make it dry better. Lost the day by that
[[underlined]]Observation[[/underlined]]. The white and blue underpainting of the lights and shadows establishes an agreeable ensemble, and of which the composition, masses, perspective can well be judged and the real painting be considered, especially as to the stroke

[[Diagrams:]]
[[underlined]]The Stroke[[/underlined]]
Sun at 9 A 
white[[image of sun with three beams of light towards sketch of picture]
[[above sketch:]]Pale blue zenith
[[below sketch:]]South
[[right of sketch:]]pale violet-rose horizon

[[image of wall and shadow with arrows pointing toward it, each labeled with text:]]
[[arrows on the right:]]
proj. of reflex
shadow
[[below:]]
projection of Sun Ray 
[[arrows on the left:]]
horizon
vertical
[[within image:]]Houses
[[In red pencil:]][[underlined]]Winfield[[/underlined]] #4

first principle: The stroke must be pictorial, not [[strikethrough]]phy[[/strikethrough]] scientific (Monet), nor invisible (smooth dead, except knife)

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