Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . g lines of lightand a sense of illumination over the hill and intothe foreground. The subject, unpromising in itsoriginal lines, has thus been redeemed. Thissort of work is in advance of the public, butshould find its reward with the elect. Balais^ce by GrADATIOj!^. Gradation will be mentioned in another con-nection but as a force in balance it must benoticed here. It matters not whither the tonegrades, from light to dark or the reverse, the eyewill be drawn to it very powerfully becauseit
Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . g lines of lightand a sense of illumination over the hill and intothe foreground. The subject, unpromising in itsoriginal lines, has thus been redeemed. Thissort of work is in advance of the public, butshould find its reward with the elect. Balais^ce by GrADATIOj!^. Gradation will be mentioned in another con-nection but as a force in balance it must benoticed here. It matters not whither the tonegrades, from light to dark or the reverse, the eyewill be drawn to it very powerfully becauseit suggests motion. Gradation is the perspectiveof shade; and perspective we recognize as one ofthe dynamic forces in art. When the vision isdelivered over to a space which contains nodetail and nought but gradation, the original im-pulse of the line is continued. Gradation, as an agent of light, exhibits itsloveliest effect and becomes one of the most in-teresting and useful elements of picture construc-tion. As a force in balance it may frequently re-place detail when added items are unnecessary.[58]. Stable Intekiuk—A. MauieA simple picture containing all the principles of composition
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartcriticism, bookyea
