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fetched from the palette in tone, hue, volumen, and set down with a trained eye in its precise position, as to direction, location, length, thickness, character of brush stroke. This can be accomplished only by preparing an experimental sketch and even painting for each picture, from which the actual picture is executed as the sculptor works from the clay model, measuring it and critizising it, when he chips the marble. The customary ways of painting would not answer my task, in water color or in oil. It is difficult, because the pictorial unity, the continuity of light, air (not impure air, I ignore all atmospheric effects) the coherence of planes, or the solidity of form (body) must not be sacrificed, although a plane-conflected (con-flect, all rays from distance and foreground meet upon the picture plane,) and imaginative image, at that, is sought me, ??? in new colors.---(Sidaners pointillism is not meant. In Cezannes water colors there is the unity of white, as light, and the totality of large, raumliche, rhytmical form, but no color; in Bracquemonds etching of Goncourt there is the black and grey colorite on a white foundation; in colour it would be a most beautiful work; in the Renaissance Italian conception there is ideality, or pure Empfindung, although not modern). The entire impressionistic way,, the Dutch schools, the Barbizons, all English and German are unidealistic, unpictorial, although much pictorial value. The Chinese drawings, Hokusai, Sharaku are pictorial, the former perhaps most so.--In Paris today, unity of expression, seems to be a problem.
[[in pencil]] (103 [[/in pencil]]