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beauty to no one. Hence it would be a mistake to make these the object of the brush. The scene however, as it was illuminated, exhibited intense beauty of color, brilliant white, pale blue; blue green, purples, and a range of brilliant yellow & orange lights: that is both contrast of tone and  harmonious contrasts of color which the specific character of the scene i.e. its arrangement of nature and buildings, divided [[strikethrough]]and combined[[/strikethrough]] in a novel combination of line and mass. Moreover, the color-effect is peculiar, unusual: brilliant yellow and orange light, strong reds, with perfect blacks in the pale cool blue foreground, amidst the green of foliage. These colors are peculiar and integral to this scene, in this light. Hence a [[strikethrough]]thing[[/strikethrough]] motif of uncommon interest. And only these colors are to be given and sufficient. [[underlined]]Color requires the[[/underlined]] suppression or at least subordination of everything else, and the pre-eminence of the brush stroke; it creates and appears by the qualities inherent only to color--beauty, and paint.

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