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To avoid the temptation to detail too much the water, the dams. The necessity to show in the yellow & orange lit earth dams cool sky reflecting top planes of rock, (roofs, water) as yellow - complementary; the spoiled hue of all blues when white is admixed. Each color, in its largest possible mass to be so used that the pictorial light or shadow is best brought out. I am re-reading the history of Italian painting. They had as picture models the mediaeval and rediscovered Roman Thermae decorations (Pompei?) also their Italian landscape before them. Hence the pictorial character of Renaissance ptg based on pure color harmonies, light and color contrast (see fotos of italian modern landscape and town views). "Lionardo first observes and studies the relation of sentiment and reality in landscape; also he draws portraits in softer material (charcoal, crayon, instead of pen) in order to, by soft forms and transitions, render stimming. Landscape, in Roman decoration, is merely illustration, often wonderfully clever; in Early Renaissance a means to tell the legend more effectively; from simple suggestions, by symbols, it grows to naturally rendered background, later detaches itself, painted for its own sake; when the religious theme of ptg gives way to human and much later to individual Empfingdungen, problems. Monet carried illustration of reality to a high point; But the peculiar property of color, namely to be the sister to musical sound - both

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