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Excepting 7) the sketch fails to fully realize and to fix in a permanent technic the complete most perfect possible charm of the motif. Now, this charm lies in the color, since I find the scene as object limited and settled. And the possibles of color are in the direction of where they are free to move: independent of the natural texture, i.e, within the outlines of each colorfigure. 8.) The colorfigures are inseparable from the objects blue sky, rose hills, yellow gables, etc. Their details are only of pictorial interests, i.e. as they may enhance the beauty = tone, contrast, vibration of color and the personal brush stroke 9.) This handling or stroke, independent of fotografic service to detail, containing pure color, being a carrier of color sensation, color feeling, of mind; instead of the things seen, therefor, is free as to line, character of touch, direction, e.t.c, within the limits of the colorfigure. Therein lies the finish of the picture, versus sketch. (So Gogh's stroke). 10). In this personal conception [[strikethrough]] and [[/strikethrough]] of color as an expression coming from the things of a scene, so to say, instead of being merely there dead surface quality, and in manipulating the brush so as to make the color expressive of personal mind-state through pictorial means, lies the new task of painting: To be equal to music. Nothing is worth gaining by fotografically painting new regions of the earth or new scenes of life, 
 [[in pencil]] (144 [[/in pencil]]