. Portrait . Portrait of a Woman Rembrandt arms in curve-like movements lead to the simple andgraceful device, particularly in female bust portraits,to bring the arms as near to each other as possible,and to fold them as it were, about the body, as seenin diagram IV-4 and 5 and Fig. 2 and Fig. 3. Nomatter what the composition may be, if the arms are PORTRAIT represented as drawing near to each other you willalways produce an agreeable attitude. We, in modern times, have deviated a good dealfrom these old rules. We are fond of more variety,,and do not follow as closely the pyramid forms of thef
. Portrait . Portrait of a Woman Rembrandt arms in curve-like movements lead to the simple andgraceful device, particularly in female bust portraits,to bring the arms as near to each other as possible,and to fold them as it were, about the body, as seenin diagram IV-4 and 5 and Fig. 2 and Fig. 3. Nomatter what the composition may be, if the arms are PORTRAIT represented as drawing near to each other you willalways produce an agreeable attitude. We, in modern times, have deviated a good dealfrom these old rules. We are fond of more variety,,and do not follow as closely the pyramid forms of thefuUface and three-quarter views. True enough, itwould be impossible to represent all lady-sitters withfolded hands. Still, it is more advisable to followthese old formulas than to pose the arm in some mean-ingless and willful fashion. For as soon as the arm. extends from the body there should be some specialreason for this particular action. A gesture looks wellonly when it explains itself. As long as the arms andhands are represented as unoccupied they should re-main near the body. As you will see in the so muchapplied formulas of diagram IV, with the exception of2, the arms cling more or less to the body. In regard to the neck the variations are largelydependent on the costume worn by the sitter. Thewhite collar and ruffles are seen in nearly all por-traits by Rembrandt and Franz Hals, namely Fig. as in Ingres time the white stock and coloredwaist-coat were the fashion. The cut of the costumesof the period create the preferred shapes and it iswisest to follow them, and not to disguise themwith drapery, as some photographers do. Not every PORTRAIT costume is as rich in design as that worn by Anneof Cleves in the portrait by Holbein, yet every dresscontains some decided characteristics of shape or pat-tern, and it will be possible
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Keywords: ., bookcentury1900, bookdecade1900, bookidpo, booksubjectphotography
