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paint used as pure as manufacture can provide it, and [[underlined]] complementary colors increase [[/underlined]] each others brilliancy if used in [[underlined]] large enough [[/underlined]] patches to be separated, at a picture distance, by the eye. Otherwise the mingling of pure dots of color produces no color at all but the best luminous grey we can get (Monet & Impressionists). To the former effect pure white can be left between colors, [[underlined]] adding [[/underlined]] light, while white mixed to color [[underlined]] subtracts light [[/underlined]].
6.) Thin painting is justified since beauty of color, even if not assisted by a clear visible or drawn outline, does not depend upon form and texture. These two qualities are not the painters or the colorists aim at all; they require opaque and often impasto color.
7). Oil-lead ground, or a varnish-enamel ground (Toch) ought to be a permanent white because house doors & white painted interior wood remain white. 7.) Underpainting on a grey oil ground with heavy white lead or zinc is preferable since it permits to paint thin with pure color, and is even more

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