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and features, quite contrary to reality, only making it probable (for which we do not even look, critically) the other, a painting chronicler, recorder of facts, did not all [[underlined]] realize the impression [[/underlined]] or effect or idea but merely set on canvas real facts, or naturalistic symbols for them, like a writer as compared with a poet, leaving the spectator to make his own vision. Which is always sufficient for the materialistic as well as the religious or sentimental, but [[underlined]] uncultivated [[/underlined]] people. Therefor: I have to look for such facts in nature or else invent them as will bring about on canvas my own impression. One and the principal range of facts, pictorial, is pure color, in a measured register from pale to intense and allowing a range of grey-broken color near the spectral line, sufficient to produce lower toned pure colors as substitute for shadowed colors of nature; such new colorite is a seeing under new impulses, it denies the real, it is not idealizing it, it has nothing to do with a wish to have reality more beautiful in an ethical or other sense, but it is personal, philosophical, temperamental preference, to which others who have similar disposition, inclination, experience, reasoning, will come. It may become general, in future. Cézanne shows the unity of form, the totality of light; Gogh shows the pictorial freedom of color; Etchers show the freedom of line; Lautrec of the proportion (carricature and truth!). The first consequence to this is to so use new color that it will [[underlined]] not [[/underlined]] carry the traditional [[underlined]] naturalistic material [[/underlined]] feeling (touch sense) of