October 14 1919

20-L

20X24----HELEN GAREY Full face jap wrap

Features not finished head much tilted

Adheared strictly to Pal. of Oct. 14 1919

(The only odd note being Mars violet which seems a valuable note) PAL. OCT. 14 1919

112-E

40x24----Boy's head over an old Cori PAL. OCT 14 '

YG and P raised to avoid so low a key raised with

W To avoid such positive G quality in lights

Otherwise true to this Pal.

ARGUIENT

? - Preserve YG & P & GB as in Oct 14 pal for all darker tones and introduce a step higher of YG. GB P. for high flesh and whites---a higher plane OR

Preserve YG. GB. P. as in pal oct 14. Introduce 3 lighter notes of slight or considerable difference of color --- or just slight varience of color ( to keep in the same light.) Still having varience from the YG. GB. P. ---Let us say YYG (or Y.), G. PR., (orPPR.)

1-L

PAL. OCT 13--14 ----20X24 Over Jean FIRST essay with this pal oct 13&14 as first set by SLN

Several variances made to avoid too much green in lights.

OCTOBER 13 1919

TRIANGLE PALETTE

CHAS. WINTER "UNIVERSAL" - As shown by John Sloan

Use any mixtures at all that can be made from the root notes
of this palette.

In setting the palette any of the "Lightener" notes; YG, GB, & P, and also the O. note may be made with more or less white whereever one or more of these notes is required in more or less lighter value. These changes should be made *before* the painting - not during.

In case of need introduce any other pigment such as would res
ult from mixtures of the root notes - the outer line of notes
--- for instance raw umber is in place nearly between yg. &
P. --- all the Maratta Bi Colors and Hues occur likewise.

This scale of colors should not be considered as the D. Ross
scale is. A color finds its place on this scale by its power
as a lightener, as Cadmium is a dark because it is not a
"Lightener".

OCTOBER 14 1919

L-20

20X24----HELEN GAREY Full face jap wrap
Features not finished head much tilted
Adheared strictly to Pal. of Oct. 14 1919
(The only odd note being Mars violet which seems a
valuable note) PAL. OCT. 14 1919
See page 33 - 130th III. (Apr 1921)

112-E

MOSAIC----Boy's head over an old Cori PAL. OCT 14 '19
YG and P raised to avoid so low a key raised with
W To avoid such positive G quality in lights
Otherwise true to this Pal.

ARGUMENT

? - Preserve YG & P & GB as in Oct 14 pal for all darker tones and introduce a step higher of YG. GB P. for high flesh and whites---a higher plane OR Preserve YG GB. P. as in pal oct 14 Introduce 3 lighter notes of slight or considerable difference of color --- or just slight varience of color ( to keep in the same light.) Still having varience from the YG. GB. P. ----Let us say YYG (or Y.), G. PR., (or PPR.)

1-L

PAL OCT 13--14 ----20X24 Over Jean FIRST essay with this pal oct 13&14 as first set by SLN
Several variances made to avoid too much green in lights.

PAL. TRIANGLE OCT. 1919

20 x 24 ---Helen Garey. Fullface Jap wrap No. 1

In the final painting the raw umber plus Wscarcely exists because the varience between YGand Pseemed to have more life than when the single note raw U was used

Very little use of BT.S or R.U. because mixtures of the root notes seemed more effective, and varied, and related.

Very little I.R. but this was because I was out of this color. I think it should be an important note on the RG line.

MARS V. used for the red in bgr.

I think highly of this color -- MARS V. in the triangle palette.

Investigate the adaptability to this Pal. of all the Mars colors.

The Mars Colors may (especially where the bright colors are aluminated) be usedon this palette, I think, this particularly where the wish is to ilminate the use ofalizarin from the reds

In making this painting I changed the value of the YG and P experimentally several times. In the final painting they appear at higher value than as set in Palette no. 1 of this series.

OCT. 24 1919

TRIANGLE PAL.

20X24 ---HELEN G. Jap wrap No. 3 3

See notes of color on linen tape dated oct 24 1919
These give the whiteness of her skin, but I think
the key can be made in a yet lower value.

Her skin is very white, but I think it may be rendered
white in a key perhaps a little above that used
in No. 2.

It may be of great value to have the note P kept fairly
high so that it may be used for high light, -- a cool
high light --

TRIANGLE PAL.
WHAT would be the result if OCT. 25 1919
instead of using YG GB & P for lighteners we were to
use OY G & BP? ---In order to get a warmer tone
Or should the warmer tone be accomplished by more
use of OY and a higher note of O than in the palette
of OCT. 14 By a higher note of O I mean, the root
note. --- In this case I mean, of course, to retain
the YG GB P pal.

222
1
A

OCT. 25 1919
NEW YORK STREET SCENE ---I varnished this today with
BELLS MEDIUM after having cleaned with potato and
washed off with water and dried
BELLS MEDIUM AS VARNISH

DECEMBER 14 1919

PALETTE CHANGES

Since last early summer I have been using ordinary colors as
noted elsewhere, and recently and up to this date, have worked
with the "triangle" palette.

Cleaned the old paint out of the "Aluminum" pans today.

My present idea is to set this palette in full, holding the light
notes down to the places the "lighteners" have held in the Triangle
palette, and gain if possible the advantages of each of these
palettes.

To use the M colors generally, introducing any of the ordinary
colors that may seem desirable.

268,-K

DECEMBER 15 1919

Repainted today using Aluminum Palette, set today, All Maratta
colors, from tubes bought Dec. 1919

This canvas was painted in the past summer at Falmouth, the
pigments used then being "old" colors.

21-XX

21-L

December 15 1919

Repainted today, Aluminum Pal. Maratta colors. Some of the
original red of the bgr., and some of the darks of the drapery
remain as painted with the Triangle Pal. The variations in the
bgr. are due to this new painting.

This os a picture of Helen Garey, 20X24, She is turned so that
she is looking over her left shoulder, and her shoulder is bare
- Jap wrap.

21-L HELEN GAREY

JANUARY 14 1920

Repainted with D. ROSS IV HC

MTTA. RO - YH - CAMB. LEM. YEL. - PERM. B. * MARS V. * W
-WN. CERU. B.

Repainted with D. R. PAL. IV HC - JANUARY 15 1920
(MTTA. RO - CAMB. L. Y. - WN CER. B. - YH - PERM. B. * MAR. V
* ALIZ. CR.)

FEB 16 1920 -REPAINTED with DR IV HC of this date.

DECEMBER 14 1919

PALETTE CHANGES

Since last early summer I have been using ordinaery colors as
noted elsewhere, and recently and up to this date, have worked
with the "triangle" B palette.

My present idea is to set this palette in full, holding the light
notes down to the places the "lighteners" have held in the Triang
paintlet, and gain if possible the advantages of each of these
palettes.

268,-K

DECEMBER 15 1919

21XX
21-L

December 15 1919

Repainted today, Aluminum Pal. Maratta colors. Some of the
original red of the bgr., and some of the darks of the drapery
remain as painted with the Triangle Pal. The variations in the
bgr. are due to this new painting.
This as a picture of Helen Garey, 20X24, She is turned so that
she is looking over her left shoulder, and her shoulder is bare
- Jap wrap.

21-4 HELEN GAREY

JANUARY 44 1928

Repainted with D. ROSS IV HC

MTTA. RO - YH - CAMB. LEM. YNL. - PERM. B. M MARS V. * W
WN. CERU. B.

Repainted with D. R. PAL. IV HC - JANUARY 15 1920
(MTTA. RO - CAMB. L. Y. - WN. CERU. B. - YH - PERM. B. * MAR. V
* ALIZ. CR.)

Feb 16-1920 - Repainted with DR. IV HC of this date.

DECEMBER 14 1919

## MARATTA COLORS

Examination of set of colors, Beilenberg make, bought through Rabinowitz, this date.

Set out on paper today, 12 colors, 12 bi-colors, 6 hues, and all with white.

Comparison with old (Bell.) colors in my stock show some changes, but generally good. And consistency good.

Differences remarked: OLD NEW

Red -- have none to compare-- seems a good R perhaps not so dark, is fairly cool.

Red-orange--Compared with two samples from old tubes the new lighter, slightly more orange, and mixed with white has much more life. Impression better.

RO-bi-- Lighter, more color when mixed with W. Impression better.

YO-- Lighter, less orange, more life, evidently truer YO.

G-bi-- More color, better.

Y-bi-- Slightly darker and more orange, not as true a note as the old.

YG-- much darker, very inferior to old, dull colo

G-- much darker,

The other colors, bi-colors, and hues seem from good to very good, although I did not make actual comparisons of them.

See the color notes made on paper this date.

Permanence test put in window, this date, of these new colors (the R, RO, O, OY, Y, YG, G.)

DECEMBER 14 1919

## MARATTA COLORS

Comparison with old (Beil.) colors in my stock show some changes, but generally good. And consistency good.

Differences remarked:

OLD

NEW

Red have none to compare--seems a good R perha
psnot so dark, is
fairly cool.

Red-orange---Compared with two samples from old tubes
the new islighter, slightly more orange,
and mixed with white has much more life.
Impression better.

RO-b1--------Lighter, more color when mixed with W.
            Impression better.

YO-----------Lighter, less orange, more life, evidently
truer YO.

G-b1---------More color, better.

Y-bi---------Slightly darker and more orange, not as
true a note as the old.

YG-----------much darker, very inferior to old, dull colo

G-----------much darker,

The other colors, bi-colors, and hues seem from good to
very good, altho I did not make actual comparisons of t
them.

Permenence test put in window, this date, of these new colors(the
R,RO,O,OY,Y,YG,G.)

December 25 1919

65-K - LUCINDA - 20X24

Repainted. Bgr. - RH over YH & W. Waist-light gray. Mecktie - BG
Head and hair and hair ornament remains as previously pa inted
Before this repainting the canvas was potato cleaned, washed,
dried and varnished with Aulolin. the painting was done over
the Aulolin before it was dry.

239-J - AGUA FRIA GIRL 20X24

Cleaned with Potatog. Some of the roughness sandpapered off.
Varnished with Aulolin (Bells Medium) W&N. Signed Front and back.

42-A-1 BALLET DANCER 26X32

In very good condition. Cleaned, Varnished with Aulolin.

24-K TILLY GYP 20X24

Potato cleaned, washed, dried, varnished with Aulolin.

223-J SANTA FE ORIENTAL 20X24

This was almost wholly repainted about a year ago with Raffaelli
stick colors. --- Dusted, lumps scraped off, (the canvas
was clean, having been well protected all this time) varnished
with aulolin, some painting on background, some retouching on the
face, in oil and into the fresh aulolin.

90-K INDIAN BOY 20X24

Potato cleaned, washed, dried, varnished with aulolin, a spot
near middle of body on the dark blue where cracks occurred was
retouched in the fresh aulolin (about 1 1/2 inch square) also
a few very slight cracks in the shadow between his right arm and
his body likewise retouched.

198-I JIM LEE 20X24

Potato cleaned, washed, dried, varnished with aulolin.

XXX 165-E EVA GREEN 20X24

Potato cleaned, washed, varnished with aulolin.

December 25 1919

65-K - LUCINDA - 20X24

Repainted. Bgr. - RH over YH & W. Waist-light gray. Necktie - BG. Head and hair and hair ornament remains as previously painted. Before the repainting the canvas was potato cleaned, washed, dried and varnished with Aulolin. the painting was done over the Aulolin before it was dry.

239-J - AGUA FRIA GIRL 20X24

Cleaned with Potato G. Some of the roughness sandpapered off. Varnished with Aulolin (Bells Medium) W&N. Signed Front and back.

42-A-1 BALLET DANCER 26X32

24-K TILLY GYP 20X24

223-J SANTA FE ORIENTAL 20X24

This was almost wholly repainted about a year ago with Raffaelli stick colors. Dusted, lumps scraped off, (the canvas was clean, having been well protected all this time) varnished with aulolin, some painting on background, some retouching on the face, in oil and into the fresh aulolin.

90-K INDIAN BOY 20X24

198-I JIM LEE 20X24

XXX 165-E EVA GREEN XXXXX 20X24

20

DECEMBER 27 1919

FRAMES

LOWENBEIN, 57 E 59, Plaza 1680
20x24 $57.50 (Frame known by Macbeth as"1813") Gold.

55-K FLORENTHIA

Cut from 20x24 to 17x24 Dec. 25 1919

42-K DAUGHTER OF THE DESERT

Cut from XXXXX 26x32 to 20x24 DEC. 28 1919

136-K LITTLE GIRL IN RED

This is the canvas painted XXXK in June 1918 with D. Ross "Rubens" Palette.

Dec. 28 1919 --- Potato cleaned, washed, dried, varnished very thinly but well covered with aulolin. Retouched the nose slightly, made the nostril in the light, slight touches on eyes, corner of mouth and repainted the flesh part of the arm. All the rest remaining as originally painted.

PAINT REMOVER

Beaver Paint Remover --- Ask for the kind that is in paste form, in cans. About 65¢ a can. Can be had at Hartmann's Art Store, East 28th. St. near 4th. Ave.

Later - Gellaspies (n.J.) monarch
Bull Dog print remover - seems better
- Bought it at Hall's Supplies 1920

GESSO (Alf Maurer) (Mch. 1919)

1 lb. gilders whiting, best.

4 oz. Peter Coopers Glue, best
Linseed oil.

Soak handfull of P. C. glue in quart of water **before** for two hours before beginning the preparation.

December 29 1919

278--H

Washed with water, dried, sandpapered part to be repainted, cleaned off, varnished with Popoma, painted new dress and apron into this while wet. The neck is new, and there is a new touch on the right side of the chin making it a little fuller. This is a smooth canvas and the part repainted was of quite smooth surface.

273-E

Potato cleaned, washed, dried, varnished very thinly with auolin, retouched some slight cracks in the hat with black and blk and RH.

58-J GIPSY BOY

January 1 1920

Potato cl, W, D, Varnished with Vibert Retouch V

243-I - FANTASIE

Potato cl, w, d, v with Vibert Rt. V.

50-K - Tilly

Potato cl, w, d, var with Vibert ret. v.

119-I - PETALO - 20x24

POT. cl, w, d, var with Vibert Ret. V.

111-K - HAWAII AND NAVAHO

Dusted off and Varnished with Vibert retuoching varnish. The canvas had every appearance of being quite clean.

852-K - TILLY

Potato cl, w, d, Var with Vibert Ret. var. (85-K)

(***NOTE*** All on this page marked Potato cleaned, washed, dried, were so done a few days ago and have been out of dust during that time and the varnishing today - Jan. 1 1920)

22

December 29 1919

278--H

271-F

Potato cleaned, washed, dried, varnished very thinly with auolin, retouched some slight craters in the hat with black and blk and RH.

58-J GIPSY BOY

January 1 1920

243-I - FANTASIE

50-K - TILLY

119-I - DETALO - 20x24

111-K - HAWAII AND NAVAHO

892-K - TILLY

January 1 1920

199-F - MADRILINITA (Small) 20x24

Potato cleaned, washed, dried several days. Varnished with
Vibert Retouching varnish Jan 1 1920. Retouched on eyes sligh
tly, mouth slight glaze on lower lip, onside of face between
nose and lip, on shaddow of face, chin, shoulder.

59-K - TILLY

Potato cl, w, d, War with Vibert Ret. Var. as above.

85-K - TILLY

(Seenote on page before this)

Repainted most of face and part
about hand, Glazed hair with PR.

178-J GIPSY GIRL OF NEW MEXICO - GERALDA

Dusted clean, Varnished with Vibert Ret. Var. %see a previous
note regarding the repainting of this canvas some months or
more ago)
This canvas now shows very indistinct
crackle in bgr. and red drapery.
Feb.1920 - Varnished
with Vibert Retouch Varnish.

****NOTE

===== All the canvases marked as varnished during these
last few days of Dec. and this 1st. of Jan. were slightl
y warmed at the radiator before varnishing, the varnish brush
was clean and dry and the V. at good temperature.

January 1 1920

Potato cleaned, washed, dried several days. Varnished with Vibert Retouching varnish Jan 1 1920. Retouched on eyes slightly, mouth slight glaze on lower lip, on side of face between nose and lip, on shadown of face, chin, shoulder.

59-K - TILLY

Potato cl. w. d. Var with Vibert Ret. Var. as above.

178-J - GIPSY GIRL OF NEW MEXICO - GERALDA

Dusted clean, Varnished with Vibert Ret. Var. see a previous
note regarding the repainting of this canvas some months or
more ago) This canvas now shows very indistinct
crackle in bgr. and red drapery. Feb 1 1920 - varnished
with Vibert Retouch Var.

### ****NOTE

January 5 1920

55-K

FLORENTHIA 17x24

Repainted waist over light blue which was thickly painted when picture was made, and was recently lightly repainted same color. (see note page ) Present color of waist mainly OH. Repainted white collar. Repainted blanket blue where it was YG. Medium used: Popoma. Brushes cleaned with kerosine. Varnishes with Vebert Relouch V. Feb. 1920

202-J

SANTA FE MEXICAN BOY

January 5 1920

Sandpapered all but the head. This was done because the surfaces were too rough and caught the light. the sandpapering results in no change of the coloring. No retouching necessary. Washed with water. Dried at radiator.

January 5 1920

55-K

FLORENTHIA 17x24

Repainted waist over light blue which was thickly painted when picture was made, and was recently lightly repainted same color. (see note page ) Present color of waist mainly OH. Repainted white collar. Repainted blanket blue where it was YG. Medium used: Popoma. Brushes cleaned with kerosine. Feb 1920 Varnished with Vehent Retouch Ver.

202-J

SANTA FE MEXICAN BOY

January 5 1920

JANUARY 14 1920

17-L HELEN GEARY, 20x24, ON COMPO BOARD.

This was first painted in October with TRIANGLE palette.

Repainted today with D. ROSS IV HC as set this date (See P.
Mtta. RO - WN Cerulean B. - Perm. B. (Rembt.) * Mars Violet
- Mtta. YH.

There is a question if the P of this Pal. (Perm. B * Mars V.)
should not have W with it to make more visible the lower tier
of notes. In this case it w'd be well to have a Blk. note.
This might be BLK. or the P note without W.

Jan. 29. 1920 - 17-L repainted totally with DR. IV. HC
paletta.

255-K

JANUARY 15 1920

CORI - HAT 20x24

Repainted with D. R. - PAL. IV HC of this date.

D. ROSS PALETTE OF JANUARY 15 1920

JANUARY 15 1920

Description of the root notes:

MARATTA ROc

MARATTA YH

CAMBRIDGE LEMON YELLOW

WN. CERULIAN BLUE

REMB. PERMENENT BLUE * WN. MARS VIOLET * WN ALIZARIN CRIM.

REM. PERM. B. * WN. MARS V. * WN. ALIZ CR. * ZINC W. (Hltnote)

JANUARY 17 1920

D. R. PAL. IV HC

L-1 - JEAN - 20x24

This canvas has been painted over several times - different color schemes. See Page dated Oct. 14 1919.

Repainted Jan 17 using DR. PAL. IV. HC. of Jan. 15 1920.
See page dated Jan. 14 & 15 1920 for description of this
palette.

JANUARY 17 1920

D.R. PAL. IV HC.

TILES PAINTED OF THIS PALETTE and arranged as follows.

DISCRIPTION OF THE ROOT NOTES:

MARATTA ROC.

MARATTA YH.

CAMBRIDGE LEMON YELLOW.

WN. CERULEAN BLUE.

REM. PERM. BLUE * WN MARS V. * WN ALIZ. CRIM.

REM. PERM. BLUE * WN MARS V. * WN ALIZ. CRIM. * zW. (Hlt. note)

IN THE ABOVE MIXTURES

(This setting is described as the "Pal. of Jan. 15 1920")

Hlt.

The tiles are set in the box in this fashion.

The Y and Vw are at Hlt. The RO-GB at M. The YH.- Vc at LDark

There are 4 value intervals and each value interval is in a warm and a cold group.

The sign X indicate intermixtures from adjoining notes.

The notes of this palette have been repeated as often as necessary to make each group complete.

All the cold groups are on the left side except the two bottom ones. By mistake these were reversed - the cold being on the right and the warm on the left side on this accompanying diagram. In the tile arrangement they have been

properly placed. The effect of these tiles is decidedly satisfactory. The 4 octaves from Hlt. to LD., and the notes in each octave, and the play of complimentary notes, are all very plainly defined. Of course the tiles may very easily be arranged back into the form of the original D.R. diagram.

JANUARY 17 1920

D.R. PAL. IV HC.

Continued from page

There are other ways in which this palette might be handled; That is, the ROOT notes may be of higher or lower colors, or of different types of pigments. the only requirement being that the compliments be such as will neutralize each other.

Therefore with a different Y, or a different RO, GB, P, so long as the compliments are true this form of Pal. would be O.K.

Also, The lower octaves may be made more visable by the addition of W in their original makeup.

At present however I think that it is better not to have W in these lower notes, as in the middle of the Pal. there are many near dark notes --- already a great variety, and the introduction of W, while it reveals the color, takes from the richness of these lower notes.

According as the subject demands this introduction of W may or may not be.

In this Pal the paleness of Lem. Yel. and its immediate mixtures on the cold side, results in there being no decided Y in the Pal. No RO and no absolute B, but these colors do appear most satisfactorily in slightly (Bi color) powersinten sities, and are very satisfactory as such.

The noticeable absence is such Yellows as wd appear ranging from Aurora Y. through Yel. Ochre.

This however is the character of the Pal. and the character of the Pall is its virtue.

JANUARY 25 1920

PAINTING GROUNDS

While in Boston last Tuesday at the Museum considered the
great portrait of a priest by GRECO.

It is a marvelous picture in character, design and color and
in perfect state.

Potter says that if the varnish which browns the whites were
to be removed it would be even much finer in color, returning
to its original state of cool clear tone.

However this may be, it is beautiful as it is and perhaps it
would be as well for them not to take any chances in trying
to make it any better.

Potter pointed out that the preparation for the painting was
a fairly low reddish tone. Indicated certain places which
were evidently uncovered, and pointed to the influence of
this undertone in many places where Greco had allowed it to
show through.

Potter pointed to canvases by GOYA, which had been painted over low toned and reddish preparations.

Potters argument was that such grounds, by the evidence of
these and many old paintings, were perfectly safe, if properly
painted on, and very desirable technically.

The different sides to this discussion are interesting.

Of course a compromise might be made with a dead white ground
and a low toned, thin or thick veil.

One of the difficulties faced by artists in the matter of
their own laid grounds is that of sufficient drying before
using.

FEBRUARY 4 1920

FRAME TONING

MATERIALS USED

Steel wool - (American steel wool, finest) For rubbing off

Denatured alcohol - - - - - - - For rubbing off

Gold Lacquer

Japan drier

Turbentine, double rectified, - - - - For finishing
(Prendergast finishes with water color)

Rotten Stone

Dry colors:

Burnt Umber

Raw Umber

Terre Verte Any other colors if needed.

Light Red There is a darker Rotten Stone.

Naples Yellow A lighter yellow may be used.

Dutch Pink

Blue Black

Flake White

The frame done this date as follows:

About 65% Turpentine ) Binding medium
" 35% Japan Drier

Flake White

Terre verte

Dutch Pink

The above applied freely

Partially dried

Rotten Stone dusted on with brush

Frame reversed to shake off surplus Rotten Stone

Rubbed off with hand and rag

The frame was finished as above, but as it was found to be
too cool and dusty scattered touches of lacquer were brushed
on, and these dusted with rotten stone.

It was still changed by new applications of the color mixture
with dustings and rubbings.

When using Lacquer allow Lacquer to dry somewhat before dust.

The dust may be Rotten Stone, or Rotten Stone plus Dry Color
or Dry Color alone

To take shine off Gold rub with Denatured Alcohol

The frame may be finished with a coat of wax, or places may
be trated with the wax in order to remove too much dust effect

This wax finish is not however necessary.

Rubbing the gold down to the under preparation may be done
with either the Steele Wool Or the Denatured Alzahol.

FEBRUARY 16 1920

19-L

20x24 STILL LIFE -
FRUIT AND WHITE TEA POT.

Repainted with DR. IV HC. of this date.

February 16 1920

PREPARATION OF CANVAS FOR PAINTING
WINTER (SLOAN)

Whether old or new canvas ---

Clean with potato.

Dry.

Cover with PICTURE COPAL VARNISH as thinly as possible, It
may be put on with brush and spread with a non-lint
rag.

In ten or fifteen minutes, when tacky, go over with rag dipped
in linseed or poppy oil.

Paint into this at once or within a few hours.

Winter claims for this method, besides advantages of good adhesion, and other permanence, a very satisfactory surface to paint into.

Abendschein in his book suggests a veil made with Copal over
the white ground.

It appears that this method should be OK unless the varnish
were left unpainted, and allowed to dry, in which
case there might be insufficient adhesion in subsequent painting.

The method would make for getting over the surface more
fluently than some canvases, such as the Winton
canvas, will allow.

FEBRUARY 16 1920

43

D.R. PAL. IV. HC. of FEB. 15 1920

Z.Y.
Mtta.
- Z.W.

* * *

P. of this
pal.
- Rose M
- Z.W.

CERUL
BLUE * DAVY
GRAY * WN. SPECTRUM
RED * DAVY
GRAY * CERULEAN
BLUE

GBc
-GBbi
-Bc-YH
-W

SP. R.
-MIX

INDIAN R.
- SP. RED

INDIAN R.
- SP. RED

Hatfield

INDIAN R.
- MARS VIOLET

GH-GBc
-GBbi
-W

ROc-YH

MIX

PERM. B.
- MARS V.

YH
- ROSE M.

The point in issue in this setting was a more powerful RO
as in the Spectrum Red.

And the use in the lower notes and in the neutrals of such
colors as

INDIAN RED

DAVY GRAY

THE MARS COLORS

POSSIBLY BURNT SIENNA

SPECTRUM RED

HATFIELDS INDIAN RED. (which is very like Venetian)

The notes of this palette seem to be very good with use.

**THE COLOR STICK** has been painted today with these notes.

FEBRUARY 26 1920

L - 16 - 26x32 - HALF LENGTH, Nu, GEARY.

L - 5 - 20x24 - JEAN, Wt. WAIST, RED DRAP.

L - 25 - 33x41 - MEDDOWS, HALF LENGTH NU.

These above have all been repainted during the last few days
with the DR. IV. HC. PAL. OF FEB. 15.

The principal considerations were:

Tryout of the color possibilities of the palette.
Use of "corner of light,"

The tendency in flesh was to keep well within the H4 and
C3 triads - that is these seemed to do the work best.

Consider the "resultant notes" - unnamable colors.

46

April 4 1920

L-27

PORTRAIT OF BERNARD BARUCH - 33x41

DANPING OF BACKGROUND - The bgr. had been painted with Yel. Hue with an over play of Red Hue plus White. Was dry.

Repainted with BH, OH, RH, - W.

In the darks = BH, BH,RH, BH,OH, BH,OH,RH,

The browns = OH, OH,RH,

The lighter blue to the left = Merging from BH into BH,W
BH,W,OH,

The Coat. ---- BH,W,OH in the lights. In the darks, BH.

MARCH 3 1920

25 -L

- MEDDOWS NU.33x41.

Varnished with OWLALIN (Bells Medium) Mch. 3 1920

3 -D

- PORTRAIT OF E. WYATT DAVIS

Varnished with OWLALIN after having washed with water and Johnstons shaving soap, all soap washed off and dried. (This canvas has been in possession of Davis since 1907. Is in perfect condition. Is now loaned to me for exhibition in Independent Artists ex.

*****

PORTRAIT OF ROBERT HENRI BY GEORGE LUKS

Varnished this date with OWLALIN - Condition OK

17-L

GEARY 20x4 Compo board.

MARCH 1920

Repainted with DR HC of FEB. 15

Bgr. variation of violet grays to yellow grays.

Flesh mainly made of the resultant notes of the higher registers of the palette.

114-E

Cori 20x24

April 7 1920

This has been repainted many times.

Totally repainted this date N (DR IV HC FEB. 15 PAL.)

Dark mixed Bgr. BG waist, Yellow hair, Smiling face.

129-E

FI 20x24

APRIL 8 1920

Recently repainted with PAL. DR HC IV of FEB. 15

Varnished this date VIBERT

3-L JEAN 20x24

APRIL 8 1920

Returned from ex at Baltimore covered with lamp black(?) when I removed successfully, about Apr. 1

Varnished this date Vibert.

MAY 11 1920

## ALUMINUM PALETTE

The new smaller sized 144 compartment Aluminum palette was made in March (twenty of them were made for students at the League, for the school at Chicago, for Bellows, and for my self.)

## END OF PRESENT USE OF DR HC IV PALETTE

The DR HC IV Pal was set in the new Alumn pal. add used during the month of March. Towards the end of work on the B M Bar uch portrait I set the Maratta Palette in the new ALMN.

## Portrait of MISS MARY PATTERSON

L - 29

Painted with Maratta Paints using new ALMN pal. The scheme of this picture is RO-G-BP. The Notes of the palette were modified to agree with this chord, and the notes of the normal palette which do not belong in the setting of this chord were eliminated by covering them with oil paper. This was done to get them out of use, and to save them during disuse from the effects of Oxygin, and to in considerable extent to protect them as well from the water. (For the notes of this palette RO-G-BP see pages dated May 7 1920) the dark brown black fur over her left shoulder had cracked due to the many over paintings and changes in this. I varnished it, but then added a top coat and thinly repainted it. Note May 20 1921 - In Dayton O. I found that it did not varnish slightly covering the cracks after doing this. I did not do it as it seemed the paint would dry with a gloss. I left Dayton on it. It was dry.

## PROTECTION OF COLORS OF ALUMN PAL FROM AIR & WATER WHEN IN DISUSE
### TUBE TINS AS A COVERING.

MAY 11 1920 - Made coverings for compartments of ALMN PAL with Squeezed out tubes cut to fit the individual compartments, to protect the pigments when in disuse from air and from the washing out of the oil which comes from being kept a long time under water.

## THE&MARATTA CHORD PALETTES

MAY 11 1920 - On this date I gave to the League Students a copy of my own diagrams of the Chord Palettes. These are to be copied and marked with Maratta's name.

## EXPERIMENT WITH TUBE TIN COVERINGS

MAY 11 1920 - Paint put in a glass saltseller, covered with a tube tin covering, not to be put under water but to be uncovered during painting hours daily and recovered at same time the palette is put under water, and left on the painting table. This to see what the result of such covering and no water emersion will result in.

## TUBES MADE OF OIL PAPER TO KEEP PIGMENTS WHICH HAVE BEEN REMOVED FROM TUBES BUT WHICH ARE NOT TO BE USED UNTIL A LATER DATE.

MAY 11 1920 - I have already kept paints for some time in oil paper, but am now putting some in oil papers with the view of keeping them some time. They are dated.

114-E

September 19 1920

Repainted totally, changing color scheme, but making no par-
ticular change in the composition. Did not in any way prepare
for this painting. The canvas was normally clean, and was
painted on last in April 1920. Has been in stack since then.
Used the palette almost immediatly after taking it out of the
water. There was some water in one or more of the compartments
which occasionally took up to the canvas on the brush. In re-
gard to this see if there is good adhesion.

The idea of this color scheme is from a noting of colors I ma-
de last night with water colors. Tth note referred to was sim-
ply a collection of color notes made without subject which
seemed to be clear strong colors which might be rendered in
oil and composed for a portrait.

260-F

Betalo in Blue hat

September 22 1920

Off Stretcher, was 26x32, now cut to 20x24. In slide box in
studio. It would be well to mount this, might be useful now.

144-K

Leila

Off stretcher, Is 20x24, cut this to small head.

2-G

Green Monhegan Upright. Cath. Woods, ,, 

Off stretcher, Is 26x32, Before remounting this again it
should be scraped down to a good surface. This will be good in
case of repainting, or whether repainted or not.

257-F

Betalo, Helmet Hat

Off stretcher

280-H

Calligan's Friend

Off Stretcher, Was 26x32, Now cut to a size less than 26x32
When mounted again to be cut to a size less than 20x24 - a
size suitable to preserve it as a head. It is in the 20x24
Slide box In Studio.

109-H

Novio

Off Stretcher, Was 26x32, low cut to mount 15x18 Is in 20x24
slide box.

157 - I

Beach Boy (1)

September 22 1920

Off Str. Was 26x32 now less than 20x24 to be mounted head size
The Background could be painted in better value.

168-I

Ramon

Consider cutting this down to 20x24. Then slight composition-
al change to front of coat. Try it as is in frame first to
be sure that the change of size shd be made.

8-K

Santa fe Marl

Consider filling foreground more with the bushes, a slightly
more rose color on the rising hill to right.

Note on the 38-1/4 x 57-1/2 old stretchers.

To convert this Stretcher to the WS shape:

Leave the length as is; 57-1/2

Change the width to 36

Allowing 1 in. for frame the "sight" will be 35x56-1/2

$$
56-1/2 = 113
$$

$$
35 = 70
$$

$$
113 - 70 = 1.614 \text{ plus}
$$

This means taking 1-1/8 inch off each end both long sides of
the stretcher as it is now.

Sep.25.'20

If it is desired to keep the present width of stretcher the
over all proportion should be 38-1/4 x 60-1/2 This will give
an approximate WS sight.

This would mean to add to the short sides of the stretcher
3/2 inches, That is 1-1/2in.top and 1-1/2in(bottom

146-K

November 3 1920

Totally repainted (except the flowers)
Palette used

PRIMARY

Rbi

Ybi

GBbi

From this chord the other notes were mixed

The flowers were enough in the chord to leave as they were,
most of the green leaves were repainted.

Bgr. - G

Neck String - Rbi plus W

Hair - O

Waist - Dark Reds

Collar - W

Cuff - W

Flowers - Light puple and Green leaves

114-E

November 7 1920

Totally repainted using no notes higher than Bi Colors

Bgr. - G with B to left

Hair - Blond

Collar - W

Waist - Light R

Flowers in lower left corner

114-E

November 9 1920

Totally repainted using Venetian R - Yel O - Permanent B.

Bgr. - B

Waist - R

Collar - W

Tie - B

The flowers eliminated.

NOV. 2 1920

 Palette made
 with
 RO<sup>B1</sup> - G<sup>B1</sup> - BP<sup>B1</sup>

The 6 colors.

The 12 colors + w

The G ->
Hueo.+<br>White

The 6 Hueo ->

The 6 colors.

The 12 colors + w.

PALETTE
MADE WITH

RO<sup>B1</sup> - Y<sup>B1</sup> - BP<sup>B1</sup>

The 6 colors
+ w.

60

NOVEMBER 20 1920

PERMANENT PALETTE

A permanent Palette with Alizarin

ZINC WHITE

VERMILION

(m.de of sulphide of mercury)

CADMIUM

(yellow to orange)

ULTRA MARINE

(natural or artificial)

LIGHT RED

MARS RED ?

INDIAN RED

MARS VIOLET

BT SIENNA

BT UMBER

VIRIDIAN

BLACKS

PAYNES GRAY

NEUTRAL TINT

DAVY GRAY

ALIZARIN, MADDER.

ZINC WHITE

The above according to TOCH may be mixed freely as none of the
colors affect the alizarin.

Palettes selected from the above

Vermilion----------Cadmium----------Ultramarine

(with this pal.ALIZARIN may be freely used, or, eliminating the
alizarin, any of the colors which decompose alizarin may be
used.) Questionable as to ultramarine.

ALIZARIN----VERMILION----CADMIUM----VIRIDIAN----ULTRAMARINE

ALIZARIN----LIGHT RED----CADMIUM----VIRIDIAN----ULTRAMARINE
or
MARS RED ?

ALIZARIN

MARS VIOLET

IND RED

VERMILION

LIGHT RED

MARS RED ?

BT SIENNA

BT UMBER ?

CADMIUM

VIRIDIAN

DAVY GRAY

ULTRAMARINE

PAYNES GRAY

NEUTRAL TINT

BLACK

* Burnt umber - There are authorities - such as Blockx
who condemn the umber and say they
should never be used.

61

36-L

November 20 1920

Mae See - 20x24 -first thing made of her
Painted with Alum Pal - Maratta Colors - First and second
painting. Last painting several days intervening was with
IR-VEN R-YO-VIRID-PERM B.

37-L

Mae See - 20x24
Maratta Alum Pal

38-L

Mae See - 26x32
First painting Mtta Alum Pal then (except head) all done over
with
IR VEN R YO VIR PRM B

40-L

Mae See Nude 26x32
Pal:
IR---VEN R---YO---VIR---PRM B
Bt S ----Blk

The Ground for this painting was: Over an old painting wh
had been sufficiently removed I painted a ground which was a
near-flesh color. This ground was made last spring.
Proved a very satisfactory ground to paint flesh over.
I have matched a note of it and dated it Nov 20 1920
This note when dry should be attatched here-

This pal

IR----VEN R----yo---VIR----PRM B

is practically a by all authorities *permanent* palette. that
is: all the colors are intermixable without change

The only one of the pigments of which any question could arise is the Perm B and in many cases this could be replaced with BLK, Davy Gray, and lower tones for wh the PRM B might be used wd be found in the lower earths all compatible with the foregoing colors. For with the above list may go the SIENNAS, UMBERS, MARS COLORS, DAVY G., BLK, etc

This should stand as a perfectly permanent palette.

Lakes in case of necessity could be glazed over dry paint.

NOVEMBER 20 1920

39-L

Helen Leanard - 28x32 Nude

Painted Nov 13-14 1920 using Alum Pal (Maratta)
Repainted wholly Nov 20 using

IR VEN R XO VIR PRM B
BT S BLK

This was painted on one of my self prepared canvas backs with a fairly deep reddish ground. Prep done last spring, sandpapered off and dusted before using. Seemed a fine tooth good to work on.

39-L

November 22 1920

This picture was totally repainted, this date, with Pal as
follows:

IND. R ... VEN R ... BT S ... YEL OCH ... VIRID ... ULTRA M.

36-L

NOVEMBER 26 1920

This picture totally repainted, this date, with

IND R : The O VERMIL was only used on the red deco
VEN R : spots of the wrap.
BT S : The Chinese Vermil was used only on the
YEL O : lips.
VIRID : No vermil otherwise used.
ULTRA M : I was using BLK and BT S for the hair - run
MTTA BH : out of BLK and used Mtta BH.
BLK :
ORANGE VERMIL : I am interested in the pearly whiteness of
CHINESE VERMIL : the flesh in this picture and in the way
the forms turned with the colors used. The
previous painting had been with the same
PAL. less the VERMILS and MTTA BH. was

warm in character, the flesh depending mainly on VEN R and
Yel OCH in the lights. In this latter painting the lights of
the flesh have very little Ven R in them. Cambridge IND R
being used with and without yellow OCH and sometimes with a
little VEN R in the lights. I was interested in the tones
for flesh which IND R plus YEL OCH gave. A fine shadow on fle
-sh, light, was found in IND R plus ULTRA M.

Therefore, the flesh was mainly painted with WHITE. IND R.
YEL OCH. ULTRA M. with very little VEN R mixed with IND R for
the higher carnations of the cheeks. Touches of CH VERMIL on
lips wh were slightly rouged on the model. Note that CAMBRIDG
IND RED is similar to W&N MARS VIOLET. Perhaps the higher car-
nations would be better in one of the warm IRs instead of VEN R.

PALETTE OF DECEMBER 4 1920

DEC 4 1920

YO & IR &
IR....VEN R & CH VERM....YO....PERM B....VIR.T..PRM B..PRM B

The special feature of this palette is that in
setting the palette PAPOMA was mixed with each
note.

During painting with this palette no medium was used
and the kerosine used in the brush cleaner was
carefully wiped out of the brushes -- as far as pos-
sible.

Note - Mastic or copal might be used instead of Papo-
ma.

42 - L Painted first with the above PAL without the addition
of Papoma, on Dec 3 1920, thinly painted.

Totally repainted on Dec 4 with above palette as des-
cribed, with the mixed in Papoma,

26x32 - LaViolette

26x32 - LaViolette

DEC 5 1920

43 - L - Painted with above plette, on under painting.

( INDIAN RED

( VEN RED plus CHINESE VM

( YELLOW OCHRE

PALETTE OF DECEMBER 4 1920( Y.O. plus PERM BLUE

( VIRIDIAN

( PERMANENT BLUE

( PRM B plus INDIAN RED

PAPOMA mixed with all the notes before beginning
painting. No medium used during painting. Brushes wiped as
much as possible after cleaning to remove kerosine.

Cambridge Indian Red, which is equal in tint with
W & N Mars Violet was used.

65

127 - K

DECEMBER 6 1920

Movie Boy ---20x24 "TONY"

Varnished with Mastic picture varnish W&N

Canvas, varnish, Brush warmed. canvas dusted and in good condi-
tion. Dried in light and warm place. Weather wintery and
overcast.

44-L -20x24- Francoise La Violette

December 8 1920

This was painted Dec. 2 1920

Totally repainted Dec. 3 1920

Totally repainted Dec 8 1920 - In this painting the PALETTE OF DECEMBER 4 1920 was used, and the motive was to get a fullness of painting and of color with depth with easy and flowing movement in the organization. Influenced by my old Gipsy-with-cigareete.

DEC. 23 1920 -VARNISHED WITH 1 Cop. P.V. + 2 TURPENTINE.

46 - L - 20x24-- Francoise La Violette

Painted Dec 6 1920 - Palette of Dec 4 1920 New canvas

REPAINTED Dec 13 1920 - Palette of Dec 13 1920

Repainted Dec 16 1920 - Palette of Dec 16 1920

47-L - 26x32 - La Violette

DECEMBER 9 1920

Painted on old canvas thinly recovered months ago with green-
ish white. The surface seemed in painting rather smooth.
went over canvas with PAPOMA before beginning and painted
with PALETTE OF DEC 4 1920 into that.

The motive in this painting was similar to that of 44-L(see
above)

48-L 26x32 La Violette

December 14 1920

New WN "Best" canvas, brushed off and then given a coat of WN Picture Copal varnish considerably thinned with Turpentine Into this with the varnish still tacky the painting was done in the one afternoon. The Palette used being PAL. of DEC 4 1920.

It may be noted that this canvas is very smooth

DECEMBER 23 1920 - 48-L distroyed. It was used today as the
base for 52-L - See DEC 23 1920

December 13 1920

1

50-L La Violette 26x32

Painted Dec 12 on canvas that held Ricardo in corduroys and was completely cleaned off with Monorch Paint Remover last spring.

This painting was done on this canvas as it was except that it was brushed off. In painting I found it rather absorbent as some of the preparation was removed in the cleaning.

Painted with PAL OF DEC 4 1920

PALETTE OF DECEMBER 13 1920

This palette is the same as PAL OF DEC 4 1920 with the addition of a note made with

Cambridge Indian Red
Rem. Chinese Vermilion

This note was added to take the place of the former red note made with Venetian Red and Chinese Vermilion because this note seemed too hot - orange - for the rest of the palette.

46-L

49-L

These two canvasses were repainted Dec. 13 1920 with the above Palette of December 13 1920

49-L was first painted about Dec 1 1920 then re-painted about Dec 9, 1920

In the work today on these two canvasses the object was to try out the above mentioned note (Camb IR plus CH Vermil) The result was that this cooler red was much more satisfactory.

The greens of the flesh, grays, were made with mixtures of the following notes instead of using the Greens of the palette, which were reserved for the Greens of Bgr, or draperies.

The YO notes with the IR notes
The YO notes with the IR plus PRM.B. notes

(These combinations result in neutral grays with a greenish tendancy - particularly in the YO--IR plus PRM B - which proved very satisfactory for flesh grays and shaddows.)

In these paintings the old VEN R plus CH V note was not used at all. And BURNT SIENNA was also not used. In the recent paintings with the Pal of Dec 4 1920 the BT S and the BT S and BLK combinations generally seemed out of key - too warm, orange

THE MEDIUM

 Papoma was in all the colors except the new red notes, viz, IR plus CH V., the same with W, the same with W., these were mixed with Durozier Harlem Sicitif which I have just procures and which I intend to try as it may dry a little more and make the application of the paint even more firm than either Papoma or Copal.

50-L

26 x 32 La Violette

December 16 1920

(See Dec 13 1920)

Repainted Dec 15 1920, same palette.

Repainted Dec 16 1920 Same palette except that a note was added as follows: Ven R.Plus Ch. Vermil. This note has much greater proportion of Vermilion than the former note of like composition. Also to all the notes Sicitif Haarlem was added -- as much as the pigment would easily carry without making it too liquid. In most of these notes there was already some Papoma from the original setting.

PALETTE OF DECEMBER 16 1920

(SEE DECEMBER 13 1920)

The layout and pigments used the same as on page covering Dec 13 1920.

The only change being that the note VEN. R. plus CH. V. with a good dominance in proportion of CH. V. was inserted between IR plus CH. V. and the YO notes.

Sicitif Haarlem was mixed with all the notes most of what had formally been mixed with Papoma, the object being to graduate into Sic H as the medium.

It was found that the warmer red note VEN. R. plus CH. V was needed.

As to the medium it is rather difficult to make any choice between Sic H., Papoma and Copal Pic.V. They seem so far to have about the same influence on the sicitif and other painting qualities when mixed with the pigments. If they continue to so appear it would seem that Copal should be chosen for its old and good reputation.

In warm and dry weather or in a less humid atmosphere than we have here in New York the drying quality would be considerably increased. My old memory of Sicitif d'Haarlem was that abroad and in the summer it worked in an intirely different way than in New York in the winter, and any where some effect was always felt from the weather changes. (It should be noted that Sicitif d'Haarlem is really a misnomer - is not truly a sicitif)

DECEMBER 18 1920

42-L

La Violette - 26x32 - (see Dec 4 1920) - repainted Dec 18 using palette of December 16 1920. The canvas was first oiled out with Copal varnish thinned with turps and the paint -ing was done directly in the wet varnish. In varnishing the face was not easy to cover - tendency to crall. But no further -er tendency of this sort appeared when the painting commence. The canvas was totally repainted and the old composition was retained.

**********************************************************************

43-L

La Violette - 26x32 - (see Dec 4 1920) - Repainted totally using palette of Dec 16 1920 - Repainting done Dec 18. Very slight change in composition.

42-L

La Violette 26x32 - see above-
Totally repainted Dec 19 1920
Totally repainted Dec 20 1920 - changes in composition of
shall. A hand indicated. gold earrings.

Pal of Dec 16 1920 used with certain of the notes Copal medium, the rest SIC H. Have found the SIC H slower drier than the Copal, and rather fat in handling. Am now making all fresh notes with Copal.

In painting the black shall #xkixxnxkxxkxx I have used
BLK. YO. BT S. BH. The use of the BT S and YO very good
in avoiding "blackness"

In the grays of flesh a mixture of the middle tint P and the
middle tint YO, also the same in light tint is very satis-
factory. Have mixed such tints and placed them instead of
the lighter tints of the first green note after YO (which
note I have made this time with YO plus Bbi)

Bbi may be a better note to take the place of BH wh is a bit
neutral.

December 21 1920

670

5-L Jean McV 20x24

Repainted (Dec 20) --- Pal of this date (See Dec 16)
Totally repainted. The canvas was clean and in good bondi-
tion. Painted on direct without any special cleaning or
preparation.

It may be noted that the only difference in the Pal of this d
ate and that of Dec 16 is that the medium in some of the not
-es vary. The last made notes wee mixed with Copal Picture V
instead of SicH. The palette is now in process to revert to
Copal as the medium.

53
L

DEC. 25. 1920 — Repainted. Totally 5-L being destroyed.
The new number for this canvas being 0-3-L. Pal same
so above except that palette is in transition to a
medium, mixed in, made of Copal + Motta Brier. All the notes
at this date have Motta Brier in them. some have also rennanno of the former
medium — S.V.H. — Cop — metallic poppy — very little of any of the earlier two.
**********************************************************************

40-L Mae See - Mu- 26x32

This canvas has been taken up many times and partially re;
painted. 2as partially repainted Dec 20. And is likely to
be so used many times.

51-L Marjorie - 26x32

This canvas was originally 134-I painted of Betallo 1914,
was lightly repainted at some subsequent times -once or
twice. Was quite hard dry in May 1920 when it was distroy-
ed by a light coat of flesh color. Today it was cleaned by
potato, water and shaving soap, plain water, dried at rad-
iator, When dry as there was a feel to the finger of a
slight oilyness to the surface rubbed off with steel wool
Dusted and appied very thin coat of Copal P V let set for
ten minutes then a coat of Poppy oil. Then painted.

This flesh colored ground is very satisfactory to work on
It would be well to watch this canvas. If cracks should
occur it is likely that the cause of them would be from the
"oilyness" of the perparation.

DECEMBER 23 1920 - This Preparatory coating with Cop, fol-
lowed with coating of Poppy oil on account of the Poppy oil
was slow drying and slippery, brush scratching through. Not
satisfactory. It is possible however that the varnish had
not had time enough to get sufficiently tacky or set, and it
that the Poppy oil was put on too freely instead of being
very lightly rubbed on with a rag. Anyhow it would seem
likely that for my purposes it would be better to eliminate
the Poppy oil.