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his contemporary [[strikethrough]] time [[/strikethrough]] race. Therefor:
It [[underlined]] is the way [[/underlined]] how to combine the drawing and chiaroscuro of the scene with the personal colors. These colors I may give pale, loose, strong, intense (always pure), broad or mingled. That is not all. If I paint the scene accurately as it is by drawing its details, in exaggerated or quite arbitrary colors, a direct [[underlined]] [[?]] [[/underlined]]results, namely the improbability of nature having looked thus. "as if the town was newly repainted" as someone said. Therefor: This sort of color must not be used as a means to [[strikethrough]] pa [[/strikethrough]] imitate the [[underlined]] Wirklichkeit [[/underlined]]; but as a means to detach it from that and thereby give account of the unity [[underlined]] of Empfindung [[/underlined]] only. Each pure stroke of color must stay exactly where accurate drawing of the scene (or of a pictorially altered motif) compels it to be. But I already find that, 1) within these lines of roof, wall, road, sky etc I must put yellows and deep blues there where shadow and lights come together, since red and violet, there, will not produce contrast of tone; and I may introduce red only in those places of the lighted [[insertion]] red [[/insertion]] wall, where no diverging plane, in shadow or other tone, would be misrepresented. 
[[image - Drawing of cube shaped labelled with colors]] 2) That I cannot give both brilliant light and pure intense color by a single pigment; as brilliant pure red can only be expressed by a mingling of [[underlined]] large [[/underlined]] dots of purest lightest yellow or orange and red. 3) The softness of the outlines of all planes, especially of the
[[in pencil]] (101 [[/in pencil]]