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nor in carrying optical illusion or imitation of the real still further. That course is run by the educated, from 1400 to 1900. The mere pictorial itself, as a tradition, is incapable of stronger effects; only of different effects, of Verschiebung des Verhältnisses. As Monet substituted the concerted and equivalent effect of all parts of the canvas to the predominance of a main figure and focus of light and color. In that sense the Ornamental field has the greater variety of proportion and effects, than painting. But painting must now proceed from realistic impersonal pictorial acting (Schauspielern?) to individual, expressive, therefor symbolistic [[symbol struck out]] interpretation: The painter being composer and playing musician in one person. To jump at one leap from todays traditional realism to the pure field of invention, ideal of object, arrangement, color and handling is not possible to any genius, as he cannot foresee the material part or the objects of the future. And if he could, it would be merely speculative and not be understood by critics or public, however willing. A step at a time. Painting is playing, therefor pleasure, coming after long and hard work, in leisure hours of a nation, a city, an individual. And serenity of mind is more favorable to beauty, the charm of what was and is, the asceticism which from a mountain top looks into void space. 
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