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all painting, and all would have been more or less fotografic copyism, were it not that the pictorial momentum carried every real painter at once and in spite of the naturalistic towards the artistic. But we should do it consciously. And all great painters have inverted such conscious aberration from reality (Titians colorite, Leonardos effacing of contours, Rembrandts Dämmeringslicht etc.). [[underlined]] In fact in the pictorial impression the single separate real or actual attributes [[/underlined]] to all objects or forms, as proportion, place, direction, outline, texture, color, illumination are quite different from what they really are and appear when we observe each form by itself, forgetting the pictorial impression, hence its relation to it and the surroundings. A shadow close by upon the earth will look pictorially pure blue; otherwise grey or of the shadowed local color; a lit road, locally white, grey or yellowish, will look rose; light around thin objects as twigs in a blue sky will assume brilliant reds, rose, yellows; similar with lines. The [[underlined]] scientific perspective is incorrect [[/underlined]] pictorially. The most important however is that in the [[underlined]] impression [[/underlined]] we do not see all things equally clear, hard, actual, but in a general and visionary way, impossible to define with our drawing tools. We must circumscribe this re-adjustment in the pictorial impression of the actual. Leonardos Madonna in the sombre grotto and Wohlgemuts dead Maria show the difference. The one, an artist, painted in pictorial arrangements

[[in pencil]](122[[/in pencil]] 

Transcription Notes:
Dämmerungslicht means twilight in German.