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our hitherto inherited customs, ideas and ideals. It has not been as yet followed by new ones instead. Hence we carry into art nothing but a similar knowledge, disbelief in tradition. [[underlined]] Monet [[/underlined]] enlarged the power of painting in the direction of naturalism, firmly established since Da Vinci; Newtons optics and Helmholtz color physiology causing luminarism, pointillism, but not [[underlined]] pictorial contribution. Cézanne [[/underlined]] lost all color in his etchinglike attempt to unify light as a pictorial form agent. Van Gogh at least added to pictorial color the clearly expressed principle of drawing with color, or the power of the brush (Venetians.) itself, but he degenerated into visible outline, even if it was "felt" and not a means of illustration or primitive imitation of reality, but of personal expression and one with his color. All these individual attempts have in common the aim at a new mode of expression or of giving the pictorial form. We recognize a truer ideal than the italians and all followers have done. We are analyzing and dissolving the complexity of reality, of nature, of life, in science, and in painting in consequence; This [[underlined]] evolution [[/underlined]] must lead to a [[underlined]] new mode of artistic vision [[/underlined]] namely that of uniting upon the picture ground (white? colour? black?) into a stylistic organism of color and [[underlined]] [[tone?]] charms separated pure effects of beautiful color [[/underlined]], the 

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