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shadows and still less color. Thus, what I want to take away from nature and arrange on canvas is her purest colors and as for daylight effects it is to be done on white ground which is spared out on restored and thus becomes the negative drawing or the basis of the arabesque into which the color is cast so to say. The moment I forsake this logical limitation I get back into the wilderness of reality. All painting seems to have tended toward the white, standing from the black ground. Corregio and Veronese, Turner, and Constable show this effort by substituting pure unbroken colors set sharply one next to the other and adding either white mixed to color or putting white between the colors (on top). Also the increasing tendency to leave the ground (light grey or whitish) untouched by any color, in many places (Cèzanne) shows the tendency: of fixing only important i.e. beautiful color and of obtaining unity. It is to be made a system, of a new, at least my own [[word striked out]] "form of vision"; the conscious substitution of a pictorial - coloristic will for the pictorially indifferent and to the feeling unessential complexity of grey in nature. Similarly the purity of color: 'an' indifferent scene assumes beauty when the morning sun colors all things yellow. The clearer this yellow is given instead of the thousand hues resulting of its complication with the local colors of things, the stronger the feeling is expressed thro' pure yellow color as the beautiful. So with all other colors.
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