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the pictorial effect (the only legitimate one in painting) determines the [[underline]] size of the stroke. [[/underline]] It must be as large as possible, since ease and rapidity and simplicity, dexterity, force, e.t.c of the painters hand and "handwriting" are more expressive, more durable, more beautiful The large simple yet quality possessing tints of the Japanese prints are beautiful Manet was a finer truer [[underline]] painter [[/underline]] than Monet by his broad handling, so Rembrandt, Velasquez, Titian. Our nervous, scientific age is visible in Monets and the impressionistic pointillistic technique, the materialism of our age in the impasto There is no pictorial quality whatever in dotting paint, nor power in an impasto total; but dots in contrast to broad color and impasto accents in contrast to a flat total are expressive and effective.
[[underline]] fourth principle: [[/underline]] The stroke must follow the least resistance. What a broad spot or a simple line will do (twigs, masts, sun ...) must not be attempted by
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