. Portrait . Water Carrier By J. F. Millet an embellishment and does not detract from the do not believe that this is always the case, even withpainters of the reputation of a Velasquez. The con-trast in Fig. 3 seems to be too decided, too large in itsshapes to be perfectly balanced by the face, whichdominates the composition only on account of its posi-tion, on the top of a pyramid form. The eye is quickly PORTRAIT. Marie Antoinette PORTRAIT led up to it, but it is apt to linger too long in the darkembroidery. The outlines of the triangular shape arevery much modified and the line work


. Portrait . Water Carrier By J. F. Millet an embellishment and does not detract from the do not believe that this is always the case, even withpainters of the reputation of a Velasquez. The con-trast in Fig. 3 seems to be too decided, too large in itsshapes to be perfectly balanced by the face, whichdominates the composition only on account of its posi-tion, on the top of a pyramid form. The eye is quickly PORTRAIT. Marie Antoinette PORTRAIT led up to it, but it is apt to linger too long in the darkembroidery. The outlines of the triangular shape arevery much modified and the line work too pronouncedto give the face the prominence it should possess. Amore minute pattern is generally a safer vehicle, forthe oval of the face will control the rest of the pictureas soon as it is the largest plane of importance in a tonalcomposition. If the pattern consists of minute repeti-tion the distinctness of the features will win out, andif the pattern is confused or very intricate the flattonality will perform the task. In a painting there isstill the consideration of color values to be considered,and as far as I remember the pink tinge of the face andthe yellow of the hair in the original furnish the mostconspicuous color notes, and in that way balance thegray tonality, the black and white of the dress. Butthis is not noticeable in the reproduction and reallynot feasible in monochrome. Fig. 5, Lebruns Marie A


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