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I have overpainted this experimental paper 10 times, this way towards color, that way towards white. It either gets hard or chalky. Besides the dark blue shadow parts contribute to rob it of repose, as to which the canvas, merely underpainted, is satisfactory: it seems to follow: [[underlined]] Pictorial colorite demands flatness of planes [[/underlined]] or if large planes contrast in colors as a blue shadow against an orange light, then neither is to be broken up by strong contrast of details. Or: the color planes must be kept [[underlined]] simple [[/underlined]], not too uneven in texture [[squiggly line]]. Different with an "atmospheric" colorite; one color dominating and mingling with all (especially blue), when all local color melt into another by a commingling of the principal colors all over the canvas. Also: [[underlined]] strong accents of color all over the lighted parts (vermilion) as well as strong deeps all over the shadow parts give unity and luminosity to the whole. The problem is to avoid chalky  whiteness, [[/underlined]] when forcing the light contrast all over, and hardness, when strengthening the shadows; on the other hand to retain the full brilliancy of light and the contrast to shadows while working with pure solid color pigment, the absolutely necessary thing in pictorial color. Pure black and white suffice to the strongest chiaroskuro effect with all mellow intermediate values.
Also: [[underlined]] Viridian + white greenblue with sky demands pure white between it and [[double underlined]] rose [[/double underlined]] (white) below. [[/underlined]]

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