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so before 1870. 2) The impressionistic way of increasing, since Manet, all light and shadow tones towards white, either mixing it in [[strikethrough]] or [[/strikethrough]] (chalky result, weakened local color) or mingling it (Sidaner) or setting complementary pure color dots close together (Monet) (no coloristic result.). It remains to attempt the [[underlined]] problem to secure in a ptg the full local colors of nature or imagination, [[strikethrough]] yet [[/strikethrough]] and the strongest contrast of natures brilliant lights and luminous dark shadows [[/underlined]] (as the most pictorial unity-effect) [[strikethrough]]; together with [[/strikethrough]].
Various means are at hand 1) using flat full tube colors, as red, green, blue, mixed as much as pure good color permits, keeping the outlines lighter or darker, in order to produce the tone contrast only at these outlines, so as [[underlined]] to avoid [[/underlined]] lightless decorative colorite; 2) interspersing yellow, yellow green, white, rose, orange, cyan, or the luminous colors with the more sombre pure spectrum colors and broken hues 3.) painting in white and grey the chiaroscuro and laying pure strong local color in a spotty, patchy, clever way without coming with it near to the contrasting parts [[strikethrough]] towar [[/strikethrough]] around the outlines of the color planes. 4.) [[underlined]] sacrificing [[/underlined]] some or much of natures brilliancy of light and depth of shadow tones, or the pictorial [[underlined]] chiaroscuro [[/underlined]] contrast, and [[underlined]] substituting colorite. 5.) changing the local colors of objects or changing the objects [[/underlined]]

[[page number, in pencil]] 86