Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . 5 ki^. PICTORIAL COMPOSITION cylinder, but on a flat plane the principle is justas forcible, as will further be shown in the pic-ture by Israels. The Crucifixion, by Morot, is more statu-esque than picturesque, and would gain in effectif seen unembarrassed by the limitations of aframe. Its strength in one situation is its weak-ness in another. The presence of the framecreates three spaces, one above the horizontaland one on either side of the vertical, and theseare empty. Therefore, althoug
Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . 5 ki^. PICTORIAL COMPOSITION cylinder, but on a flat plane the principle is justas forcible, as will further be shown in the pic-ture by Israels. The Crucifixion, by Morot, is more statu-esque than picturesque, and would gain in effectif seen unembarrassed by the limitations of aframe. Its strength in one situation is its weak-ness in another. The presence of the framecreates three spaces, one above the horizontaland one on either side of the vertical, and theseare empty. Therefore, although the singlethought of the dying Saviour is sufficiently greatto bear—nay, even, perhaps, demand—isolation,it unites itself with nothing else within our com-pass of vision, and, therefore, cannot be saidto compose with its frame. The reader is nowin a position to appreciate the simple mechanicswhich underlie the composition by Israels. In Alone the artist starts with the figure of theman—a vertical. The next thought closelyallied is the woman. The two complete a either end two more vertica
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartcriticism, bookyea
