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#9. 20x30 [[underlined in yellow]]Ranger White Lead thin ground canvas.
back[[/underlined in yellow]] primed W L once, S 10. -11/--
[[underlined in red]]Canal at Blackwells Mills L.I.[[/underlined in red]] drawn up with green pencil then with Chinese Ink. also a copy traced; -- oiled in & rubbed off, then all flat thinly painted in, no oil, with Cremnitz White, orange cadm, aurora cadm, viridian, ultramarin, harrison red (instead of rose madder), cerulean, cobalt violet.
Bei der Zeichnung die Perspektive berücksichtigt und das Alter der Dächer und Wände durch Biegung und Neigung der Linien.- In 24 Stunden noch nass. Zum Teil abgeschabt.- Untermalung nahm 2 Stunden.- S 28 [[strikethrough]]Gleich[[/strikethrough]] Nächsten Tag übergemalt. das heisst der Himmel fertig alles andere nur leicht in etwa richtigen Tonen hingesetzt um dem Effekt nahe zu kommen. Diesmal Mussini Cremnitz weiss, Rm. CO. usw.- S. 29 noch nass.- fertig gemalt in 4 Stunden Mussini Zinc white only. RM. CVio. Vir. Cadr. II. & Or. ul. ce.
Bl. Bl. Harr R.; mostly mixed with Lins Oil+Amber Varn, as little as possible.
Nex Day not dried to tackiness. I overpainted, but [[underlined]]Strontian[[/underlined]] yellow is green in yellow light : adding viridian I weakened it, as also the yellow foliage; also the pure blue cast shadow on the red houses by adding green. In fact the purity of the crude flat colorite was spoilt. Scraped & washed off with petrol, scraped the ground slightly; repainted or new frottee with Poporna (no oiling): pure Strontian, cobalt violet, spectrum red, new blue, white.
[[underlined]]Color must represent light and shadow[[/underlined]] since we cannot paint light with light, having only pigments; hence yellow or white in the lightest part; not red purple and violet in the darkest parts, no matter what the real local colors are. Each color, each pigment has its own quotum of Sunlight.
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