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detail, texture, gravity, e.t.c. That is: to paint in a light (however solid) thin smooth pigment (which favors permanency). In [[underlined]] Japanese landscape prints [[/underlined]] the [[underlined]] color [[/underlined]] is similarly seen and employed: as an apparition not as material substitute for reality; it is beautiful and symbolistic (deep blue zeniths; yellow earth, rose horizons.). Here is the difference: Japan and China are not pictorial in painting, they do not realize but only symbolize the impression. Hence they discard shadow, form.  We cannot sacrifice them. [[underlined]] Without [[/underlined]] them the contrast as the principal pictorial factor is lost (black-white). Nor can we sacrifice exact accurate drawing based on reality, without losing the means to [[underlined]] realize [[/underlined]] the impression.  Yet we must [[underlined]] see new [[/underlined]].  Hence a new mode of combining the color effects in nature and transferred as personally seen, on the painting ground is required.  In all black and white art the white ground or the grey tones (sometimes black) cause the unity (etching; Cézannes drawings!).  All pale tints of pure colors require a white ground to be seen at their best.  Intense colors do not need it.  Setting pastel colors thick, coarse, loose, on a very rough paper produces a mingling of outlines and ground.  It seems that the [[underlined]] interlacing of the brush strokes of ground and color planes, or of different color planes at the outlines [[/underlined]], and more: the free, felt, individually directed (pictorial) [[double underlined]] play of the brush [[/double underlined]] effects (dots, blots, spots; ground left; lines, streaks, waves, curls, wedges, zigzags, sway, wash, scumble, etc) (Gogh!)

[[page number in pencil, circled, at bottom right]] 123