t. You may therefore
not make them the main theme of your painting of landscape; but you
cannot paint a daylight picture without in some way making it obvious
that luminosity is a fundamental characteristic of day light. There is
no other quality so universally present and pervasive. In sunlight it
is the most vital quality. You might as well paint water without
recognizing the fact that water is wet, as to paint daylight without
recognizing the fact that diffused sunlight is brilliant.

=A Help.=--You will find it very useful as a help in seeing pitch as
well as color to have a card with a square hole cut in it to look
through at your landscape. Have one side covered with black velvet and
the other left white. Compare darks with the black, and the lights
with the white, and make the picture compose in the opening as in a
frame.

=Key and Harmony.=--But you should remember that the high key for
out-of-door work does not mean crude nor unsympathetic color, neither
does it mean that there is nothing but sunshine and shadow. Your
picture may be as high as you please in pitch, and yet be harmonious
and pleasing. I have seen impressionist pictures of most pronounced
type hung in the same room with old pictures and in perfect harmony
with them. It means that good color is always good color, and will
always be harmonious with other good color, whatever the pitch of
either. One picture is simply a different note from the other, that is
all. The color in nature is not crude in not being dark. The relations
of spots of color are just; you have only to be as just in observing
them, and your picture will be harmonious.

Make your notes just _all over_ your canvas. Have some of them just
and the rest false, and of course it will be wrong. Or if you try to
make crudity take the place of brilliancy, you will not get harmony.
The harmony which comes from the presence in just relation of all the
colors is none the less beautiful because more alive. You need not try
for the most contrasting and most sparkling qualities of out-of-door
color, but you should feel for the out-of-doorness of it.

The space, the breadth, lack of confines, the largeness and movement,
vibration and life,--these are the things which the modern painter has
discovered in landscape and has emphasized; and this is what has made
modern landscape a vital force in modern art. Whatever you do or do
not see, feel, and express in your painting, these you must see, feel