Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . ounced than those of linear construction, thoughthrough all compositions of effect, certain welldefined schemes of chiaroscuro are soon as any one is selected it rests with theartist to vary its conventional structure andmake it original. Lack of a well-defined scheme of light anddark however, is ruinous to any pictorial ordecorative undertaking. The accompanying wood interiors are intro-duced in proof that light and shade ratherthan form is the pictorial element of greatestval
Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . ounced than those of linear construction, thoughthrough all compositions of effect, certain welldefined schemes of chiaroscuro are soon as any one is selected it rests with theartist to vary its conventional structure andmake it original. Lack of a well-defined scheme of light anddark however, is ruinous to any pictorial ordecorative undertaking. The accompanying wood interiors are intro-duced in proof that light and shade ratherthan form is the pictorial element of greatestvalue. In both pictures the principles of chiaros-curo are strongly expressed, and we look closelybefore discovering that the first one is the secondplaced on end. Analysis of pictures into light, dark, and half-tone develops the following forms. being the happy and positive side of artpresentation, any form or modification of it par-takes of its quality. The gradation bespeaks itstenderness, and, much as we may admire lightspower, this, by its mere variety, is more attract-ive. [ 168 ].
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartcriticism, bookyea
