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especially the nearest and facing the sun. The glare is difficult to name by a color, since neither pure orange red, rose, yellow give the grey of the local color, nor does the slightest grey added possibly come up to this glare of the sunlight on it, when compared with the shadows. Hence pure colors in lines and patches must be used as well as slightly broken tones in order to get the effect. Otherwise no differentiation is possible, if grey is absolutely eliminated from the colors of reality. On the other hand the effect of the illumination is only possible by pure yellows, reds, light and deep blues, greens, violets whites and blacks on walls, roofs, windows, doors, etc; which are to be searched out on the motif. Doing so, I found the sketch to turn out a colorite, [[strikethrough]] regardless of all drawing or completeness. Especially the white on roofs and the black in windows; and holes etc. of foreground completed the green yellow red colorite. I left, satisfied, that mere solid pure and broken color (of all tones, the full palette scales,) set down accurately in its place and carefully complemented each by its neighbour, produces the pictorial color effect and also the essential character of the scene by negative drawing.

[[Image: Diagram at left: red, yellow, blue]

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