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Nov 25 - 11. [[underlined with red pencil]] to Patterson [[/underlined with red pencil]], to study for picture of [[underlined with red pencil]] river, March [[/underlined with red pencil]] sketch.
[[underlined]] On contrast of edges: [[/underlined]] [[image - illustrative drawing in ink]] a tree trunk before a lit grass field, or a house corner in sky; the background shows solid on the light side, the nearer form is therefor solidly [[underlined]] attached [[/underlined]]; on the shadow side however the background shows a light line, the nearer form is [[underlined]] detached [[/underlined]]. In decorative art, where the personal expression is suppressed, tones or colors are set next to another without this contrast, the continuity of the decorated surface being maintained (since the object or surface decorated or ornamented is not to be denied, rather emphasized through art), or even accentuated by putting outlines in black or gold or white around the color-figures. Therein lies the great distinction of painting and decorating. In painting [[underlined]] all the effects pictorial [[/underlined]] which reality contains are imitated and pure pictorial charms not seen but coming from the imagination or from the technical means and procedure are added for the sake of increasing the pictorial effect and the power and variety of expression. The Moderns are quite mistaken in falling back upon outlines.--I sketched in colors the Hudson river below a sunset, quite yellow and found: [[underlined]] exaggeration of color [[/underlined]] is another pictorial effect and necessity. Starting with pure chrome yellow for the sun areole, greenish and emerald around it, vermilion on the distance brought out the color force. Before it remained more "real", that is timidly near what paler and weaker color one saw, but the brilliancy of them would not come out. Hence stronger color was required. In fact, if I prefer to increase the rose and lilac tints

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