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The pictorial however is personality; its expression as well as the rendering of power and the necessity of substituting something for the want of the degrees of actual sunlight beyond white pigment, (which we cannot give) calls for stronger tone contrasts. hence, as with the sky, I will make the foreground shadow much darker. Yet it may have light, namely the [[underlined]] principle [[/underlined]] of luminarism, pure colors mingled produce white on the disk, applied to shadows: [[underlined]] dark but contrasting colors, no grey, will produce a luminous instead of a dull uninteresting dark [[/underlined]].
In this way I prepared on the tracing paper drawing the intended colorite. The underpainting accordingly
[[underlined]] Observation: [[/underlined]] It requires correction; one cannot underpaint too broadly, too contrasting in color and light. and too clearly strive for the
[[underlined]] pictorial Form [[/underlined]]. This I find entirely lacking. Neither are houses, bushes, earth, grass e.t.c shaped in simple characteristic form each, nor do they appear to all unite to a [[underlined]] total pictorial form [[/underlined]], like a human body. But such form organism, light organism, color organism, line organism, stroke organism e.t.c, in short a [[underlined]] pictorial Oneness in every way [[/underlined]] the picture must be, or it is no [[underlined]] expression artistically [[/underlined]]; like a poem. To merely paint that scene [[underlined]] Principle: [[/underlined]] - is waste of time. One must strive with every new picture to solve the problem it

[[in pencil]] (110