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outlines of whole objects, when surrounded by a light sky or when standing in front of objects of a contrasting tone (a dark gable before a light hill) can only be expressed by not giving a continuous line for the outline and by leaving white lines between the masses of the different adjacing planes or objects 3.)The leaving of white, furthermore, between the [[strikethrough]] pur [[/strikethrough]] strokes of pure color not only strengthens light color and makes agreeable combination of certain colors as green-red (see the theorist, Hurst?) but adds general light to the picture, without weakening the color (as is the case in customary painting; white being mixed to pigment). In this way neither the actuality or character of the scene is infringed upon, all colors being put exactly, where the drawing demands them, nor is the colorite made improbable. It is rather [[underlined]] a new form or way of [[/underlined]] fixing the pigments, by how they are, each, disengaged from the grey of reality as well, as from a real pure color phenomenon in actual sun light, and how they are and [[underlined]] how much [[/underlined]] they are (1) by stroke direction, 2) by stroke proportion) set down. [[strikethrough]] As [[/strikethrough]] (a similar effect the pure brilliant colors on scenes and groups painted on white Chinese porcelain.) I must thus aim to give to each picture a [[underlined]] peculiar style [[/underlined]], and arrive at that mastery (for it is difficult) by hard practice to acquire consummate skill of direct, firm, precise, [[underlined]] imaginative [[/underlined]], stroke of pure pigment, most [[strikethrough]] se [[/strikethrough]] adequately
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