Viewing page 182 of 207

This transcription has been completed. Contact us with corrections.

The only change lies in the local colors within the pictorial limits and the character of the scene, from experience. 3) The purified color must disengage texture or that part of reality: or, else, the character of the scene would suffer, since to say, more than the earth is pure yellow at this light and hour, namely, that it is really earth, dry grass, sand, loam, stones, would be saying that [[underlined]] they [[/underlined]] are all of uniform yellow color; it means a contradiction; furthermore I am not interested in the naturalistic qualities of this scene; merely on its pictorial construction, the emotion its lines, proportions and colorite excite. 4.) I can to a certain extent fix these sensations by rough color-strokes without any regard to imitate the realism of the scene beyond general direction of mass and line. I can push the 

[[image - small sketch of a proposed painting with sections marked by color]]
[[image notes]] blue green white dk blue or. rose y. y. yellow yellow [[/image notes]]

charm of opposing hues further into detail, more or less as the objects reveal it. In fact the scene prompted no more: [[underlined]] The Sketch. [[/underlined]] where it fails to give closer detail, in earth, backyards of houses, etc, it stopped, because there was nothing of pictorial importance. And 5) No more should be given, than the sketch contains. The sketch, if it were made with color instead of with crayons would contain the whole pleasure. 6) There is something of inherited commercialism, subservience to an [[order?]] for a portrait or altar picture, vanity and egotism, in our habit and profession to convert a sketch into a much larger picture. and especially in adding to it detail (. Delacroix: The sketch and the finished picture should be one and the same thing"). 
[[in pencil]](143[[/in pencil]]