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this park scene becomes a mere color proposition [[underlined]] The Colorist must prefer the beauty of pigment to [[/underlined]] the light of reality, since with white he spoils color pigment; at best he can vary his color so from that of reality that he comes nearer to its real light proportions; for instance a pure red house in reality, lit up strongly by the sun, cannot be imitated by pure red pigment plus white [[strikethrough]] or [[/strikethrough]] mixed or interspersed. [[crosshatching; five bold vertical lines]]; if mixed it is not pure red, if interspersed with white, that makes it dark; hence orange or even pure yellow is to be used. Violet is the darkest color (Ward.). Hence I constantly find when sketching with color pencils from nature that only yellow represents both green and red in bright sunlight, rose and lilac a weaker light (on roads); blue and violet true shadow and deep spaces. This sort of imitating sunlight with pure color would, however, soon lead to a [[underlined]] routine which works against the idea of [[/underlined]] color, against variety: hence it follows that the [[underlined]] true painter is not concerned in the representation of the light-values of reality. [[/underlined]] The Impressionists are not colorists. Acc. to Ward: dark end of colors violet; then blue, green; yellow green brightest and more luminous than orange, red, yellow. Purple is dark.--surround pure colors by black, grey and dark or intense complementaries.

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