Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . the dark distance into the picture to thegroup of trees. Across this is an oppositionalbalance from the bushes of the foreground to themountains of the extreme distance. The onlyline in the composition, better seen in the paint-ing than in the reproduction, counts much in thebalance over the centre. The placement of theimportant item or subject, has little to do withthe balance scheme of a picture. This is thestarting j^oint, and balance is a consideration he-yond this. In every composition
Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . the dark distance into the picture to thegroup of trees. Across this is an oppositionalbalance from the bushes of the foreground to themountains of the extreme distance. The onlyline in the composition, better seen in the paint-ing than in the reproduction, counts much in thebalance over the centre. The placement of theimportant item or subject, has little to do withthe balance scheme of a picture. This is thestarting j^oint, and balance is a consideration he-yond this. In every composition the eye should cross thecentral division at least once. This initiatesequipoise, for in the survey of a picture the eyenaturally shifts from the centre of interest, whichmay be on one side, to the other side of the can-vas. If there be something there to receive it,the balance it seeks is gratified. If it finds noth- Bacchus, page 92; Alone, page 111. ^ Claude Lorraines landscapes, page 161. 3 Mothers Child, page 127; The Lovers, page 147. ?• The Salute, page 31; Path of the Surf, page 85. [30]. Lion in the Desert—G^rome Balance of Isolated Measures
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartcriticism, bookyea
