Viewing page 163 of 207

This transcription has been completed. Contact us with corrections.

artist than those modern faddists, who for the sake of mere personal advertisement and assertion of an incomplete, inferior self, want to re-introduce into painting un-naturalistic, but also unpictorial elements, which belong [[underlined]] to the [[/underlined]] arts and crafts, decoration. 
Dec 1.-11 [[red underlined]] #14 fin [[superscript]] d [[/superscript]] [[/red underlined]] w. ZW (Mussini), N Bl, Cer, SpR, Cad 1.2. Ora, Rm CoV; Vir; the sides with new white (camber), ambered- pop & Lins; after oiling in with Pop. In the sky & houses I used the patch stroke & white mingling; the green bush shows form, the foregr [[underlined]] colors [[/underlined]] in the shadow. 
I saw real color, and color as the only expression of the joy of the visible world, when chancing into this [[double underlined]] Chinese [[/double underlined]] restaurant Oriental, [[strikethrough]] Mots [[/strikethrough]] Doyer Str. Silk Embroidered, - paintings framed in narrow mother of pearl inlaid dark brown strips, covering all walls. On a white, and 2x, on a violet rose, ground, without perspective or "background", pure brilliant [[underlined]] greens [[/underlined]], [[underlined]] scarlets [[/underlined]], roses, blues, etc, in graceful arrangements, divided by white on the white silk ground (or the violet, sombre), well composed, give [[underlined]] selections [[/underlined]] from reality (willows, flowers, birds) not an imitated complete record of "all the facts of reality", yet, kept together and made brilliant by the white ground, a pictorial unity, hence real paintings (why cannot silk thread, instead of pigment & brush, be the medium!) The like in beautiful color and powerful expression of serene joy I have never seen. It agrees with all I intend, hence it was to me a stronger inspiration than history of painting. I read John Lafarges "Considerations":
                         [[in pencil]] (127 [[/in pencil]]