Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . a-tion of their fitting to the linear scheme of land-scape. Skies which move away from the horizondiagonally, suggesting the oppositional feeling,are more useful in an artists portfolio than aseries of clouds, the bottoms of which parallelthe horizon, especially w^hen these float isolatedin the sky. Yv^hen the formal terrace of cloudsentirely fills the sky space, its massive structureis felt rather than the horizontal lines, just as aseries of closely paralleled lines becomes a flattint. Th
Pictorial composition and the critical judgment of pictures; a handbook for students and lovers of art . a-tion of their fitting to the linear scheme of land-scape. Skies which move away from the horizondiagonally, suggesting the oppositional feeling,are more useful in an artists portfolio than aseries of clouds, the bottoms of which parallelthe horizon, especially w^hen these float isolatedin the sky. Yv^hen the formal terrace of cloudsentirely fills the sky space, its massive structureis felt rather than the horizontal lines, just as aseries of closely paralleled lines becomes a flattint. The Line of most elastic and variable of the funda-mental forms of composition is the line ofbeauty, the letter S, or, conceived more angu-larly, the letter Z. This is one particularly[ 123] PICTORIAL COMPOSITION adapted to upright arrangements and one largelyused by the old masters. We are able to tracethis curvilinear feeling through at least one-thirdof the great figure compositions of the Renais-sance. Note the page of sketches in the chapteron Light and Shade.^ Though selected for this. !
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectartcriticism, bookyea
