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carries that effect from the outlines through the color planes of the entire canvas. The [[underlined]] traditional solidity [[/underlined]] and academical completeness [[underlined]] of form [[/underlined]] (which is a convention to illustrate reality) must give place to a [[underlined]] new way of pictorial unity [[/underlined]] corresponding exactly to the personal impression (Brangwyn's). But is impossible to describe clearly in words the details of an invention before the invented thing is at hand. Hence I must now stop writing. The pictorial change of other actual phenomena, proportion, outline, illumination, direction, omission of features and things, e.t.c going hand in hand with the color, and form problem of this new way of seeing, hence of painting, towards the realization of it in painting can only be accomplished by work; experiments and work under that unalterable and fixed purpose and [[underlined]] viewpoint [[/underlined]]. Anything else, any academical training, any conventional submission, leads only to the fenced-in pastures of the herd. To graze and feed on it, as an artist, means to be one of the herd. It would be better to cobble shoes or paint fences. Nor do I see where I can learn much in Europe. The [[strikethrough]] world [[/strikethrough]] sphere of art, of the pictorial is that of vision, not the world of the trader or politician. Flee it when you are artist. Monticelli and Blakelock, there is pictorial vision. Degas, Gogh, there is similar work. Da Vincis consciousness of it. Music has run far ahead of painting. But poets become pictorial. 
                           [[in pencil]] (124 [[/in pencil]]