Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . es without reason. The DutchPeasants on the Shore,^ low tide, and ThePoulterers, ^ and Davids Rape of the SabineWomen, are examples. These pictures present three degrees of formalbalance. In the first a lack of sequence impairsthe pictures unity. Iji the second, though theobjects are contiguous there is no subjectiveunion, and in Davids composition the formalityof the decorative structure is inapplicable to thetheme. The circular group of Dagnan-Bouverets Pardon in Brittany, where the peasa
Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . es without reason. The DutchPeasants on the Shore,^ low tide, and ThePoulterers, ^ and Davids Rape of the SabineWomen, are examples. These pictures present three degrees of formalbalance. In the first a lack of sequence impairsthe pictures unity. Iji the second, though theobjects are contiguous there is no subjectiveunion, and in Davids composition the formalityof the decorative structure is inapplicable to thetheme. The circular group of Dagnan-Bouverets Pardon in Brittany, where the peasants aresquatted on the left in the foreground is a daringbit of balance, finding its justification in the Page 105, 2 Page 147. [47] PICTORIAL COMPOSITION movement of interest toward the right in thebackground. In all forms, save the classic decoration itshould be the artists effort to conceal the balanceover the centre. In avoiding the equal divisions of the pictureplane a practical plan of construction is basedupon the strong points as opposed to the weakones. It assumes that the weak point is the. centre, and that in all types of composition whereformality is not desired the centre is to beavoided. Any points equi-distant from any twosides are also weak points. The inequalities indistance should bear a mathematical ratio to eachother as one and two-thirds, two and points will be strongest and best adaptedfor the placement of objects which are distantfrom the boundary lines and the corners, in de-grees most varied. [48] PICTORIAL COMPOSITION If we take a canvas of ordinary proportion,namely, one whose length is equal to the hy-pothenuse on the square of its breadth, as 28x36or 18x24 and divide it into unequal divisions asthree, five or seven, we will produce points onwhich good composition will result. The reason for this is that the remaining two-thirds becomes a unit as has the one-third. Ifthe larger is given the precedence it carries theinterest; if not
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartcriticism, bookyea
