. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. CIRCULAR COMPOSITIONBy Alice B. Woodward. w O g^ Pi O M u inW H ought not to be cramped into a small area, and atrivial subject is not exalted by making a large paint-ing of it. It was a principle with the old masters to show asmuch of a figure as possible. Almost without excep-tion they give a complete representation of the School of Athens contains fifty-nineheads, all but four showing the faces, Rembrandtobserved the principle even more rigidly
. The W. Martin Johnson school of art. Elementary instruction in color, perspective, lights and shadows, pen drawing and composition. CIRCULAR COMPOSITIONBy Alice B. Woodward. w O g^ Pi O M u inW H ought not to be cramped into a small area, and atrivial subject is not exalted by making a large paint-ing of it. It was a principle with the old masters to show asmuch of a figure as possible. Almost without excep-tion they give a complete representation of the School of Athens contains fifty-nineheads, all but four showing the faces, Rembrandtobserved the principle even more rigidly than his Hundred Guilder print there are forty fig-ures, and every face has a history written in it. Care-ful design is conspicuous in the works of the old mas-ters. Sometimes it is in the arrangement of , it is in the beautiful interweaving of gracefullines. In some pictures we distinguish the convolu-tions of a scroll, and in Raphaels Madonna of theChair the lines yield to the exigencies of a barrelhead upon which the picture is painted. The composition of line is based upon the princi-ples of ornamental design, the lines returning into oneanot
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Keywords: ., bookcentury1900, bookdecade1900, bookidwmartinjoh, booksubjectart
