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The shadows are all a true greyblue.
It is most important to ascertain [[underlined]] the relation of color and light of all planes [[/underlined]] with regard to the stand of the sun and the color of the reflecting sky as well as of objects, as if the scene were built of white plaster instead of local colors. Now the sun back of my left shoulder is nearing the low hill tops, at 4 PM Oct 22; it is reflected in a window to left, outside of picture, around the sun is whitish glare but the entire sky, even near the sun, is clear unclouded blue, not very pure and South E tolerably dark. It is lightest in the picture. But [[underlined]] the white [[/underlined]] houses, linen, lime, stones and similar [[underlined]] objects, lit by the sun [[/underlined]] [[strikethrough]] are [[/strikethrough]] make [[underlined]] the light blue [[/underlined]] appear [[underlined]] much lower in tone. [[/underlined]] All lit red brick houses are very pure strong red (sprinkled with yellow light, and purplish shadows) all pure local colors, as yellow and red foliage, green grass, blue signs are of the purest most intense own color, in light; while pigment + white can be so reduced in color towards [[underlined]] white light [[/underlined]] that a lit chain of houses, yellow, red, white, obtains

[[image - sketch of 3 houses labeled "yell", "white", "red"]]

in a picture a true relation of general light to shadow, nevertheless, in nature, the lit local colors are very clearly separated and not whitened by the sun light; Either way has been followed so far by painters: 1) local coloring, keeping the shadows very dark, in order to give light to the local color, having little or no white in it

[[in pencil]](85[[/in pencil]]