Viewing page 68 of 207

This transcription has been completed. Contact us with corrections.

The more I see of the prevailing painting and what is called "fine color" the less I regard it, excepting the pictorial. But in color all looks grey: So Twachtmans, Robinsons etc. All that is pictorial drawing or the heavily painted things plastering (not painting) with paint but nowhere real color. I am more convinced every day: Pure color, thin color, color only, starting with color, for the sake of color, feeling of color, through color, and expressing life or nature, the impossible-to-render-phenomena (sun; light; shadow;)-and-relations-thro' color.
Complete [[underlined]]elimination of grey[[/underlined]] of reality would lead to the pure spectrum colors, but, if one follows only what nature offers, to so general a repetition of certain and mostly pale hues and effects that there would result more monotony, sameness, lack of color variety and real strong color, than in Impressionism. The yellow or rose or orange light on objects must not be reduced to mere pure yellow as it would look on a white object: But, while it is [[strikethrough]]so[[/strikethrough]] thus necessary, brown, maroon, etc; or green, grey, is to accompany it (not mixed) in order to characterize.

(52