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local colors in light, as red walls, yellow walls next to a white wall are in strongest tone contrast. [[image: Drawing of street and walls with red, yellow, white labeled.]] If this contrast is so painted, then no light is obtained in the picture. Since nature has both the strong color strong light. If however the strong light is painted then no color is obtained, it being covered with white.
If I sacrifice the conditions of atmosphere, as moisture, I can sacrifice the natural glare of sunlight and substitute for it purity of color. It is imperative to transpose reality into simple color, the lightest parts as purest colors, the middle parts as strong color, the shadows as color; aiming at and thinking of, feeling for nothing but color, one color to harmonize with the next and after the large masses are woven together, their various principal colors are interwoven or scattered in small parts each with a mass of dissimilar or complementary color. In this way and in crayon (Faber's pitt) I built up a sketch of the motif: always observing, again and again, that pure yellow must not be smudged with green, nor pure red with

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