IOMPOSITION IN “FINE ART, B Y EDITH MERRILL KETTELLE. Published by the Author at 126 Massachusetts Avenue, Boston. MCM. ''''COMPOSITION IN FINE ART, BY EDITH MERRILL KETTELLE. Published by the Author at 126 Massachusetts Avenue, Boston. MCM. ''| oe nenhe- COPYRIGHT, 1900, BY EDITH MERRILL KETTELLE. ALL RIGHTS RESERVED. U. C. BERKELEY LIBRARIES LT COS 13684 | COMPOSITION BY F. W. KETTELLE. TEXT PRINTED BY ROCKWELL & CHURCHILL. HALF-TONES AND COLOR PLATES PRINTED BY F. W. KETTELLE. a ! + ~ En x SX aN a Cc aoe ''In compliance with current copyright law, U. C. Library Bindery produced this replacement volume on paper that meets the ANS! Standard Z39.48-1984 to replace the irreparably deteriorated original 1997 '' ''PREFACE. ee This book is an outline merely, and is not intended to be an exhaustive treatise on the subject of composition and design. It has been prepared as a note-book for a class of teachers, in order that there might be uniformity and accu- racy, and thus to avoid misunderstanding through mis-quo- tation. To take it as one would a cook-book and attempt to teach from it without previous training would probably result in failure, not because the principles here given are wrong, but because they are not applied. One may have an accurate description of mushrooms and yet through lack of experience choose poisonous toadstools. No book, how- ever accurate its principles, can take the place of experience. 204120 ''ros ‘ ''PLATES. i-10. ILLUSTRATIONS OF CHAPTER ON: PICTURE STUDY, 1. First Steps, Millet. 2. The Madonna of the Chair, Raphael. 3. Penelope Boothby, Reynolds. 4. The Coronation of the Madonna, Botticelli. 5. Prince Balthazar, Velasquez. 6. The Sower, Millet. 7. Christ and the Doctors, Hofman. 8. The Night Watch, Rembrandt. g. The Surrender of Breda, Velasquez. 10. The Transfiguration, Raphael. 11-18 COLOR ANALYSIS SHOWING WAYS IN WHICH COLORS MAY VARY: 19-22 APPLICATIONS OF COLOR IN SIMPLE DIAGRAMS. CONTENTS. CHAPTER : PAGE i... THE PURPOSE OF WINE ARQ ee ee 7 Beauty.—Principle of Order.—Comparison of Music, Literature and Art. Ih. UFRAME} LINES 625 0 on Boe eee oe ee Nae te 13 Harmony with Subject.—Relation to Elements Enclosed, Vignettes, Il. CONTRASTS, TRANSITIONS, AND REPEEMMONS. 7.10 Attractive Value of Contrasts.—Of Transitions. Supporters and Neutralizers.—Arrangement.—Unity. IV. CENTRE “OR INE ERDS Ooo Gree ee ce ae 33 Methods of Centering Interest.—Distribution. Vs NOT AN ee ey ee ie ee eee Oe ta Wn ala ee 41 Distribution of Value. Vic HARMONY (OBR (COMOR sis ee ee 47 VIT. PICTURE STUDY ek ee ee ee es '' '' '' BY PERMISSION OF THE PERRY PICTURES CO. PAE oi, INSE Sees), MILLET, '' '' BY PERMISS|ON OF THE PERRY PICTURES CO. PEATE De THE MADONNA OF THE CHAIR. RAPHAEL. '' '' co. BY PERMISSION OF THE PERRY PICTURES REYNOLDS. PENELORE BOOTHBY. PLATE 3. '' '' BY PERMISSION OF THE PERRY PICTURES CO. PEATE va THE CORONATION OF THE MADONNA. BOUTGEEL '' '' BY PERMISSION OF 1HE PERRY PICTURES CO. PEATE 5 PRINCE BALTHAZAR. VELASQUEZ. '' ''ao eer hy ag Saks sr tats '' '' BY PERMISSION OF THE PERRY PICTURES CO. PEATE 7. CHRist AND THE DOCTORS: HOFMAN. '' '' BY PERMISSION OF THE PERRY PICTURES CO. PEAEES 8, TleecNIG alo WATEC TH: REMBRANDT. ''eae Dye my ae eR ESS Sars bet '' BY PERMISSION OF THE PERRY PICTURES CO. VELASQUEZ, THE SURRENDER OF BREDA PLATE 9. '' '' BY PERMISSION OF THE PERRY PICTURES CO. REATIE: io. THE TRANSFIGURATION. RAPHAEL. '' '' PEATEs: SCALE SHOWING CHANGES OF VALUE WITHOUT COLOR. '' '' PLATE 12. SCALE SHOWING CHANGES OF VALUE WITH COLOR '' '' PLATE 13. SCALE SHOWING CHANGES OF BRILLIANCY. '' '' PLATE 14. SCALE SHOWING CHANGES OF 3BR HUE. '' '' PEARS 2157 SCALE SHOWING CHANGES OF VALUE AND BRILLIANCY. '' '' Pa PLATE i16. "SCALE SHOWING CHANGES OF BRILLIANCY AND HUE. '' '' PLATE 17. SCALE SHOWING CHANGES OF VALUE AND HUE. '' '' PEATE 18. SCALE SHOWING CHANGES OF VALUE. BRILLIANCY AND HUE” '' '' PLATE 310° RED. WHITE AND GREEN, KEYED TO GREEN. '''' RUATE, 2.0. THREE VALUES TRANSLATED INTO COLOR, GREEN THE KEY COLOR. '' '' ONE BRIGHT COLOR WITH WHITE AND BLACK. ii a | S a Hl Hi ' init I Rt PLATE. 21. ORANGE WITH RED VIOLET, KEYED TO ORANGE. '' '' KEYED TO GREEN. GREEN AND BLACK, PEATE 422: ''CHA PEE Reed. THE PURPOSE OF Fini HE purpose of fine art is to give delight; it is to the eye what music is to the ear. Fine art may be separated into two great divisions, decoration or design, and picture making or representation. The difference between these two great branches of fine art is that one disregards while the other conforms to scientific truth. In de- | sign, forms are idealized, or may arise in the imag- ination altogether. The element of meaning may or may not be present. In picture making we must consider the element of truth; here we do_ not compose any less than we IMAGINATIVE FORM fj H WITHOUT MEANING. do in the realm of design, ''8 COMPOSITION IN SINE ART. but we are limited by the necessity of following the effects of nature. As for example, in design we may have a pink sky, a green cow, violet grass, no shadows at all, and relative sizes of things anything we please; but in representation, while we may transform trees into bushes, leave out fences, put in animals, people, houses, change relative positions, colors, values,“’ and so forth, we must preserve the appearance of truth by means of the effect of light upon local color,” of perspec- tive, and of chiaroscuro.® In representation, we are at liberty to do anything we please, so long as we present the “harmoniously supposable;” that is to say, we need not tell e ed? YG . the whole truth, which NOW would mean to draw every aN leaf on a tree, but we should not show any glaring con- tradiction of scientific truth. The mere -exactness. -or truth to nature in a picture does not give that picture value as fine art any more than being human and alive makes all people beautiful. (1) See ‘Value’ under chapter on Notan. IMAGINATIVE FORM (2) See chapter on Color. SUGGESTING A FLOWER. (3) See ‘‘Value” under Notan. ''BEAUTY. 9 The element of beauty, that which gives delight, is separable from realism and also from idealism. Both truth to nature and imag- inative form may exist with com- plete absence of beauty. But beauty is necessary to the pro- duction of delight, therefore, since the purpose of fine art is to produce delight, all pictures and designs must be beautiful; either facts, or fancies beautifully expressed. Beauty, then, being the vital spirit of fine art, be- comes the subject for analysis. What is beauty? and how is it IMAGINATIVE FORM to be obtained? WITHOUT BEAUTY. BEAU LT Ye If you move your arm up and down, the activity at first is pleasant; if long continued the result is pain. A change of activity brings relief for a short period but finally rest is necessary. On the other hand if you keep your arm absolutely motionless the result is also pain. Comfort con- sists of harmonious changes of activity mingled with periods of rest. What is true of the arm is also true of the eye in its observations of contrast“ and transition® of line,® value, color, etc. The (1,2,3-) See chapter on ‘‘Contrasts and: Transition.” ''10 COMPOSITION IN FINE ART. FLOWER FORM IDEALIZED, FROM A JAPANESE PRINT. contrast of activities and rest in one case we Call comfort, and in the other case beauty. PRINCIPLE (OF ORDER, ESSENITAL, “TO BEAUTY. Nervous force expended in several directions is sooner exhausted than if it is expended in only one or two directions. The result in the first case is confusion and weariness. We would hardly choose the game called “Aunt Rhody’s Cow” as ''COMPA RISON. 1I a recreation compared with dancing, swimming, golf and similar activities in which two or three: simple movements are combined in orderly relation with each other. For the same reason we would not choose the picture or design in which we find a confusion of elements. It is quite evident that the principle of order is necessary to comfort, and it is also necessary to beauty. COMPARISON OF MUSIC; “LITERATURE AND “ART, In fine art the composer seeks to lead the at- tention, by means of harmonious arrangements of contrasts and transitions, to a dominant point, the centre of interest, In the same way the composer of music builds up his production about a domi- nant theme, the composer of literature arranges his material about a dominant incident or charac- ter. In each of these arts strength, snap, brillian- cy are obtained by contrasts; and delicacy, grace and subtlety by transitions. The principle of unity is also the same in each of these arts. ALL BRANCHES OF FINE ART EQUALLY GREAT, Literature is not dependent upon one language nor upon one class of subjects; music is not con- fined to one instrument; neither is fine art confined to one method of expression. The picture maker or designer who works with pen and ink may be as great a master as he who works with marble ''12 COMPOSITION IN GFINE ART. and bronze, and the painter of pottery may be no ‘less than the painter of fresco. The principles of composition must be familiar to the composer; this is the vital spirit of fine art. He must. know the action and reaction of these principles under different relations, and the more combinations he knows and understands the greater master he will become. THE CREATIVE MIND. All people cannot create masterpieces, for after all, evea¢ artists are born, not made. A mind, with imagination dominant, with well developed _per- ception, and a sufficient power of discrimination and judgment, can create great things. Without imagination we cannot create, but we may all become appreciative of great works. ''CHAPTER. 11; FRAME: LINES. RAME LINES serve to shut out things a not concerned; they mark the limits of a picture or design. HARMONY WITH SUBJECT. Every designer or picture maker has to consider first of all the enclosing shape of frame. In the case of the picture maker his subject determines what the shape of the picture shall be: in the case of the designer the form of the object or space to be decorated determines the character of the sub- ject. Any design will not decorate any space. To obtain harmony between a composition and its bounding shape the dominant lines of each must take similar directions. RELATION TO) ELEMENTS ENCEOSED. Frame lines are very magnetic. Acting in con- nection with attractions which are placed too near them, they draw attention to the extreme edge of the composition. This uncomfortable power is (13) ''COMPOSITION IN FINE (ART. 14 ''PORTER LIBRARY VIGNETTES. 1s especially evident where an area is tangential to the frame line or where the frame line is broken. Where great awe, an intense feeling of worship, or dignity is desired, attractions may be concen- trated at the extreme top of the picture. In the Transfiguration we have the interest concentrated at the head of the Christ by means of transition of value, gradation from dark to light; unusual position, Christ elevated from the earth; suggested direction, gaze and extended arms of figures; and sentimental interest, or the story told by the picture. VIGNET EES: Pictures may be made in which the edges are vignetted: in this case the general shape is the boundary of the picture, and this shape should be composed. Figure 1 shows an area placed too near the frame line. Figure 2 is a correction of Figure 1. Figure 3 shows a strong contrast of direction near the frame line. Figure 4 shows a method of cor- recting Figure 3. Figure 5 shows an area tan- gential to the frame line. Figure 6 shows a cor- rection of Figure 5. Figure 7 shows a broken frame line, with attention escaping at that point. Figure 8 shows a broken frame line with attention divided. Figure 9 shows a correction of 7 and 8. ''16 COMP OSLITONOIN FINE ART. FIGURE | 1: FIGURE 3. FIGURE go: FIGURE 4. ''FRAME LINES: 17 FIGURE 5: DQ FIGURE 6. ''18 COMPOSITION IN FINE ART. CN PIGURE, 77. FIGURE <8. ho for’ Nm Vy FIGURE 9. ''CHAPTER ie CONTKASTIS, TRANSI@IORe A REPE TITIONS. HE artist or designer has for his vocabulary differences in line direction, in form, in proportion, in value, in hue,“ and in degree of brilliancy.” To put these elements together successfully he must understand their meaning, just as we understand the meaning of words. As words are affected by their relation to each other, so also are these elements modified by their relation to each other. This influence will either support or neutralize. ATTRACTIVE VALUE—-CON@RASIS. By attractive value is meant the power of the elements to attract the attention. Considering Figures 10 and 11: Figure 11 being larger than Figure 10, has more attractive value; the im- pulse to look at it is stronger than the impulse to look at Figure 10. In Figure 12, we find two similar areas placed near each other | more attractive Gi, a7) See chapter on “Color.” (19) ''20 COMPOSTTION IN TINE -A RT: FIGURE: 10: FIGURE 11. than two at some distance from each other. The association of the two results in the accumulation of attractive power. We are interested in each area for its full individual value plus the interest of their association: In Figure 13, the group of small squares is more attractive than the parallelogram, and we teverse is"due of Figure 14. .Untisual FIGURE 12. ''VONTEAST SS: 21 N RIGURE: 137 - FIGURE 14. ae ee ; position has great attractive power, as is shown in Figure 15. Unusual form is also a strong attrac- tion, Figure 16. Moving lines throw almost irre- sistible power toward their ends. An attraction placed at the end of such a line, no matter how FIGURE 15. HGURE “16. ''42 COMPOSITION IN FINE ART. @ & FIGURE: 17: insignificant it may be in itself, receives the bene- fit of it as is shown in Figure 17. In Figure 18, concentration of direction as in a radiation is shown to be powerful. In Figure 1g, attention is; called to. an area by means of isolation. In Figure 20, we see that two areas which call equal attention when in a horizontal direction from each other will not call equal attention when in a vertical relation; the area at the top is too heavy for a stable balance. Like words and phrases, all contrasts may be modified by the addition of other elements; as for instance, in Figure 21, we have FIGURE (1s: FIGURE 19. ''CONTRASTS. 23 od a contrast of form and proportion; in Figure 22, a contrast of position and value; in Figure 23, contrasts of position, proportion and value; in Fig- ure 24, contrasts of motion, radiation and form. And so we might continue through all the con- trasts and possible combinations of them. A ay ae aS CORRECT HORIZONTAL BALANCE. ale. aie as TS fa O'Z. gos Om ae “aS VERTICAL BALANCE, SHOWING UPPER AREA TOO LARGE. FIGURE 20. CORRECT VERTICAL BALANCE. ''24 COMPOSITION INC FINE ART. FIGURE 21. CONTRAST OF FORM AND PROPORTION. FIGURE 22. CONTRAST OF POSITION AND VALUE. FIGURE 23. CONTRASTS OF POSITION, PROPORTION AND VALUE. FIGURE 24. CONTRASTS OF MOTION, RADIATION AND FORM. ''TRANSITIONS, 25 TRANSITIONS. By means of transitions the attention is carried from one point to another. We are attracted and held by a contrast; we find it impossible to stop on a transition. Transitions range in_ possibility from a gentle, slow movement to one of tremen- dous force and rapidity. A few transitions and combinations of them are shown in Figures 25 to 31. =~) FIGURE 25. TRANSITION OF LINE. FIGURE 26. TRANSITION OF PROPORTION. FIGURE 27. TRANSITION OF FORM. ''26 COMPOSITION IN FINE ART. FIGURE 28. TRANSITION OF VALUE. @ Al FIGURE 29 TRANSITION OF LINE AND FORM. FIGURE 30. TRANSITION OF FORM AND VALUE. FIGURE 31. TRANSITION OF PROPORTION AND VALUE. SUPPORTERS AND NEUTRALIZERS. When one element is placed with another they enter into some kind of relationship, each exerting an influence on the other. If the influence is so slight as to be of no consequence. then the insig- nificant element is redundant and had _ best be omitted. The influence of elements upon each ''INFLUENCE, — 27 other is either one of support or of neutralization. An element supports another when it lends strength and increases the influence of the other, it neu- tralizes when it reduces or subdues. Figures 32 to 39. FIGURE 32. FIGURE 33. VALUE SUPPORTED VALUE NEUTRALIZED: —~j— er - FIGURE 34. FIGURE 735: VERTIGAL (LINE: SUPPORTED. VERTICAL LINE NEUTRALIZED. ''28 COMPOSITION IN FINE ART. “i! f AS ref FIGURE 36. RIGURE. 3:7. MOVING LINE SUPPORTED. MOVING LINE NEUTRALIZED. FIGURE 38. FIGURE 39. FORM SUPPORTED. FORM NEUTRALIZED. ''ARRANGEMENT. FIGURE 40. DESIGN BASED UPON CONTRAST OF LINE. ''30 COMPOSITION IN FINE ART. ARRANGEMENT. As a rule, in the arrangement of elements in a picture or design, either contrast or transition dominates, although some compositions are so well mixed that a very even balance is preserved be- tween the two. If contrast dominates, the effect is strong, powerful, brilliant and inclined to be motionless, except in diagonal opposition of line, when the dominant lines leaning in one direction will give motion. If transition dominates, the ef- fect will be subtle, graceful and full of movement. Transition in one element may be combined with contrast in another; Figure 42 shows contrast of line and transition of value, Figure 43 shows con- trast of value and transition of line, Figure 44 shows contrast of form and contrast of line with transition of proportion. ce >. ae q = FIGURE 42. FIGURE 43. CONTRAST OF LINE AND CONTRAST OF VALUE AND TRANSITION OF VALUE. TRANSITION OF LINE. ''UNTIL ¥, ai LET ro iQ Oe x 4 WES x bs .< EY FIGURE 44. CONTRAST OF FORM AND CONTRAST OF LINE WITH TRANSITION OF PROPORTION. UNITY. - Unity, or that which results in tying the various elements together in a harmonious relationship, is based upon two conditions—transition and repeti- tion. Similarities distributed throughout a picture or design serve to bind its various elements to- gether. Carried too far the result is either mo- notony or the direction of the attention toward some contrasting element. FIGURE 45. MONOTONY. ''32 COMPOSITION AN FINE ART. > ; Vas Va 3 aoa ee fel kL i fl AT Pie | FIGURE 47. UNITY: nf omen aR ''CHAPTER “TV: CREW DRE OT Lin ane ee, HAT point which holds the greatest amount of attention is the centre of interest in any picture or design. We may call it the centre of equilibrium of the attractions. This cen- tre of interest may be at the centre of the frame, but as a general rule it is much better to be at a point which is at good proportional distances from the frame lines. If the centre of interest is placed too near the frame line at either side it comes under the at- tractive power of the edge of the picture, and the result is that the two attractions acting together overbalance the rest of the picture. Placing the interest in the centre of the frame is rare because it is difficult to do without being commonplace. However, when so placed it gives great stability to a picture and intensifies the interest at that point. The Surrender of Breda by Velasquez is an example. The point of interest depends somewhat upon (33) ''34 COMPOSITION IN FINE ART. the emotion which the artist desires to produce, for instance, a sense of sublimity, grandeur, royal- ty, holiness, etc., are gained by concentrating the attention at the upper part of the picture. . The Transfiguration by Raphael is an example. The Parthenon is the best example in architecture. In the case of the Parthenon, the great simplicity at the base, the numerous vertical lines leacing the. attention upward, the decorations massed at the top, all these things help to carry the attention upward, and the religious emotion follows. Where pictures are to occupy a central position with architectural surroundings they are most fre- quently balanced laterally upon a central line. The Madonnas in this respect are very marked. Whether the interest be placed above, below, or at the centre of the frame depends upon the ele- vation of the picture itself. If the picture is to be placed above the eye, the interest may come low in the frame, and the reverse is also true. In the Kakamonos of the Japanese the interest is most frequently low in the picture because the Japanese sits on the floor, and his wall pictures are adapted to the point from which they are to be observed. METHODS OF CENTERING INTEREST. Having determined the point within the frame lines at which we wish to centre the interest, the next thing to do is to make the attention go there. ''CENTRE OF INTEREST. 35 This may be done by means of a number of meth- ods of which contrast, radiation and moving line are the basis. Under the head of contrast come contrast of direction, (opposition of line,) contrast of quality of line, contrast of form, of proportion, of value, of hue, of brilliancy, and of sentiment. One or more contrasts may be used together, as, contrast of direction and value, of form and proportion, etc. In centering the interest we should never use . a stronger contrast than we need. Where the interest is centered by radiation, it may be radiation of direction, quality of line, form, proportion, value, hue, brilliancy and of sentiment or a combination of two or more of these. Moving lines centre the interest at their ends. Strong contrasts placed upon or near such lines have little or no effect in arresting the attention. If the moving line be broken at a point of strong contrast the attention will pause for an instant; but such a point could not have importance as a centre of interest, except when placed at equal distances from the ends of the line when the two parts of the line are alike in curvature. Moving lines may be subordinated in such a way as to be simply connections between areas. We should be careful to keep strong contrasts and radiations away from the edge of a picture or design, for they borrow weight from association ''36 COMPOSITION IN FINE ART. FIGURE 48. INTEREST CENTERED BY MEANS OF CONTRAST OF FORM. FIGURE 49. INTEREST CENTERED BY MEANS OF A GROUP OF SMALL AREAS IN CONTRAST WITH LARGER AREAS. FIGURE 50.7 INTEREST, CENTERED=BY: MEANS. OF RADIATION OF LINE. ''CENTRIN ORIN TEREST. 37 FIGURE 51. INTEREST CENTERED BY MEANS OF CONTRAST OF PROPORTION AND RADIATION OF FORM, ue FIGURE 52. INTEREST CENTERED BY MEANS OF MOVING LINE AND CONTRAST OF FORM. FIGURE 53. INTEREST CENTERED BY MEANS OF HORIZONTAL AND VERTICAL OPPOSITION OF LINE. ''38 COMPOSITION IN FINE ART. FIGURE 54. INTEREST CENTERED BY MEANS OF CONTRAST OF VALUE. FIGURE 56. INTEREST CENTERED BY MEANS OF CONTRAST OF PROPORTION. FIGURE 55. INTEREST CENTERED BY MEANS OF CONTRAST OF VALUE AND TRANSITION OF FORM. FIGURE 57. INTEREST CENTERED BY MEANS OF RADIATION OF VALUE. ''DISTRIBUTION. 39 with the frame line. and call attention away from the desired centre of interest. If in any picture or design we have a number of contrasts of equal or nearly equal. importance, the result is that the attention is called to a number of places at once, and we have either a divided or a distributed interest. A divided interest is never desirable; a distributed interest has its place, however, in surface patterns and borders. DISTRIBUTION, A comfortable distribution of attractions is one in which we feel that no part of the picture or design is crowded at the expense of any other part. Attractions may be generally distributed, or they may cluster abont the centre of interest, and the rest of the picture be filled by a very subordinate interest, or even by a suggestion. As in physical activities we mingle varieties of movement and periods of rest, so in composing a work-of art we should mingle and interlace contrasts, transitions and repetitions, making little systems of each which shall consist of dominant, interme- diate and small masses. Fine proportion should be striven for in dividing lines and spaces. ''40 COMPOSITION INVUTIMNE ART. FIGURE 58. ; EXAMPLE OF BAD PROPORTION. THE SMALL AREAS MONOTONOUS, AND THE LARGE AREAS TOO GREAT IN CONTRAST. ee Ee cin | Cees Cee oe FIGURE 61. * THREE EXAMPLES OF GOOD PROPORTION. ''CHAPTER 4, NOTAWN: OTAN is a word used by the Japanese to describe the quality and distribution of val- ues in a picture or design. It is not synon- ymous with chiaroscuro. Notan deals with values without respect to truth to nature. Chiaroscuro deals with values as a means of showing light and shade, and thus securing the appearance of solidity. By values we mean gra- dations of light between white and black. These may be simply greys or may have -color. (See scales in chapter on Color.) DISTRIBUTION OF VALUES. Where we have two elements which differ much from each other they must be mingled and inter- laced in order to form a unified “whole. Thus, black and white compositions should consist of large, intermediate and small masses of each which should play into each other. Each system should be so arranged in relation to the frame lines that, (41) ''42 COMPOSITION IN FINE ART. FIGURE 62. A SCALE OF VALUES. ''NOTAN. 43 by itself, the result would be agreeable. Where more than two values are used the subject is de- veloped in the same way as with two, but the problem is then more complex since there must be a system for each value. By introducing notan we may either support or neutralize the. line composition. Contrasts of form, proportion and so forth, are intensified when contrast of value is added. The best result is that in which the notan takes up and continues the line idea. i i a : . or i : nee el FIGURE 63. DISTRIBUTION OF BLACK, WHITE AND GREY, ''44 COMPOSTTION LN FINE ART. NUNS V, FIGURE 64. GOOD DISTRIBUTION OF BLACK AND WHITE. FIGURE 65. BAD DISTRIBUTION OF BLACK AND WHITE. CONTRAST OF PROPORTION BETWEEN BLACKS TOO GREAT. '' FIGURE 66. DISTRIBUTION OF BLACK AND WHITE, NPLON SY ''46 COMPOSITION IN FINE ART. ih I i ii i ue FIGURE ‘67. DISTRIBUTION OF BLACK, WHITE AND GREY. ''Chat bik wv ee HA RMONY0OB: COLGR: OLOR is capable of changes of value, of hue, and of brilliancy or saturation. Harmony of color is attained through the orderly arrangement of these qualities, not through any subtlety-in the color itself. Two colors may be extremely beautiful in themselves, and combined be utterly hideous. In arranging a plan or scheme of color we have several things to consider, these are the size and position of areas, the general hue or key color wished, the notan and adjacent color. A scheme of color in which changes of value alone are made is said to be in monochrome, and the composition is then governed by the principles of notan. Changes of hue, without change of value or of brilliancy, enable the composer to keep broad simple masses in notan while giving a subtle dis- tribution of warm and cold color. This is some- times known as vibration of color. Carried to excess this results in monotony of notan. In order to give a crisp, vigorous quality to such a picture (47) ''48 COMPOSITTON IN FINE ART. it would be necessary to make a few accents, or areas in strong value contrast: and these should be placed near or lead toward the centre of interest, Changes of brilliancy of one or more colors without change of value may be used in a com- position, provided contrasts of value also are used. For instance, red, (bright and dull in one value,) may be used in combination with two values of some other color or grey. Where colors change value and brilliancy, but not hue, very delightful effects may be gained, especially if hues are mid- way between hot or cold color, as violet or green. Such an effect is called monochrome, and is gov- erned by the principles of. notan: the areas of great- est brilliancy should be placed in harmony with the principles dealing with centering of interest. Changes of value and hue give quiet, sombre effects, inclined to be dull and lifeless unless strong value contrasts are used. In this case the strength and sparkle of the composition depend upon the notan. The most serviceable plan of color is one in which there are differences of value, hue and bril- lancy. | As in notan each value forms a system inter- lacing with other values, so there should be an interlacing of systems of the various brilliancies of color and of the various hues. In working up a scheme of color, the simplest ° ''HARMONY OF COLOR. 49 method is to proceed in this way:— Determine the hue which is desirable for the key color or dominant hue of the composition. Give to this hue dominant area and dominant brilliancy or both. When in any color scheme one hue is given dominance in area and another dominance in brilliancy, provided the key color is not. gained by saturation, the general hue of the design will be an intermediate between the two. This hue will then be the key color, although it may not actually appear in the composition. A hue may become the key color by means of sat- uration, that is, by putting it into all the colors used. For instance, the colors may be orange, violet, blue and green, and we may choose to make orange the brightest and give green the greatest area: we may then make red the key color by making orange a red orange, violet a red _ violet, biue a blue violet, and green a dull green. The proportionate area of the colors might be as follows: ty’ (Bhwejeviotet: 2v yi dee wae, 3. Red orange. 4, Aareen, Having determined the dominant hue and the method by which it is to be attained, the next problem is the distribution of subordinate hues. Very important areas should not be made in hues strongly contrasting with the dominant hue, as the ''50 COMPOSITION IN) FINE: ART. result would be a’ confliction of interest. For in- stance, suppose red to be the dominant hue, then green could not occupy a very important area unless saturated with red. On the other hand, if _the area is small and is used as an accent, then green may appear in great brilliancy next to an area of brilliant red.! If an area is entirely sur- rounded by colors other than the key color, the brilliancy of the color of this area may be con- trolled by the surrounding color. The followin would be.an example. Suppose red to be the key color; there may be areas of violet and orange surrounding an area of green; this green may be brilliant in harmony with violet and orange; the violet and orange hues form transitions between the green and the red. If a spot of-color seems to spring out from among the other colors, something is wrong with it, It may be brought into harmony by using one or more of the following methods:—glazing with key color: glazing with adjacent color: reducing area: placing other spots of similar color with it, thus throwing some contrasting color into prominence: reducing value contrast: throwing its position near- er the centie ot. mierest A good notan is an absolute necessity for good results in color. A composition which is weak in value will be washed-out and weak in color, no matter how harmonious the hues may be. ''CHA PEER Mil, PICTURE SiGe N “First Steps” we have an excellent example ‘ of a picture based upon horizontal and ver- tical opposition of line. Horizontal lines dominate, hence it is enclosed in a horizontal plane. Interest is thrown upon the figures through con- trast of curving line with straight line, through sentiment and through important position. The FIGURE 68. DIAGRAM OF “FIRST STEPS’’ BY MILLET. (51) ''52 COMPOSITION IN: FINE ART. point of interest is the child, and the attention is carried to that point by the gaze of the mother and the direction of the stretched arms of the father. An impulse in any direction is the same as a line, and the eye will follow until stopped by an oppo- sition of some sort. FIGURE 69. DIAGRAM OF “THE MADONNA OF THE CHAIR” BY RAPHAEL. The Madonna of the Chair is based upon op- posing curves. The movement of the mother’s body is the principal curve, opposed to that is the movement of the child’s body, opposing both of these are the arm lines, and opposing the arm lines are’ the sleeve lines: The interest-is :centered, by means of two similar shapes placed near each other, the heads of mother and child, and by opposition of line and contrast of value. ''PICTORE STODT. 53 In the portrait of Penelope Boothby we find the interest centered by contrast of complexity with simplicity of line direction. The detail of the bonnet ruffle serves to catch and hold the attention within the area which it encloses. See Figure 13 in chapter on Contrasts. ha) a Sema FIGURE 70. DIAGRAM OF “‘PENELOPE BOOTHBY,” BY REYNOLDS. The Coronation of the Madonna is based upon transition of line. Notice how beautifully it con- forms to its frame line. Compare its grace with the strength and vigor of First Steps. The in- terest is centered by means of contrast of line and contrast of value, by radiation, sentiment and contrast of proportion, the light body of the child being the largest light mass. ''54 COMPOSITION IN: FINE ART. FIGURE 71. DIAGRAM OF “THE CORONATION OF THE MADONNA.” BY BOTTICELLI. The Sower is an example of diagonal opposition of line giving motion. The vigorous sweep of the figure could be obtained in no other way. If curved lines of motion had been used the result would have been graceful and effeminate. Interest is centered by contrast of line and contrast of value. Prince Balthazar is also an example of diagonal opposition of line, with interest centered by means of contrast of line and contrast of value. The feeling of royalty is gained by placing the centre of interest high in the frame, and by means of ''PICTURE STUDY. 55 perspective indicating that the observer is not standing, but is so low as to view the pony from beneath, such a view as one would get from a kneeling position. - ' ape o fe wre 5 ane ee RS ws os 28 ww Eg z ''56 COMPOSITION IN FINE ART. In Christ and the Doctors we have a good ex- ample of interest centered by means of radiation of line and contrast of value. yo ai FIGURE. 74. DIAGRAM OF “CHRIST AND. THE DOCTORS.” The Night Watch is another example of the same thing. In this case the radiation of line is very much subordinated. FIGURE 75. DIAGRAM OF ‘‘THE NIGHT WATCH.” ''PICTURE STUDY 57 The Surrender of Breda has the interest cen- tered in the centre of the frame. It is a stationary picture, the only movement indicated taking place at the centre of interest. Had this been otherwise, the centre of interest could not have come at the centre of the frame so comfortably. Interest is centered by means of contrast of line through horizontal and vertical opposition, and opposition of lines of movement with lines of rest, and sentiment. FIGURE 76. DIAGRAM OF “THE SURRENDER OF BREDA,” BY VELASQUEZ. The Transfiguration is a double composition. In the lower part interest is centered by means of radiation. This centre is a subordinate centre and comes in a chain of attractions leading the attention to the circular composition above. In ''58 COMPOSITION IN: FINE ART. this circular composition the interest is centered at the head of Christ by means of moving lines, radiation, opposition of direction, unusual position, contrast of value and sentiment. ee ix (2 ee eT": FIGURE 77. DIAGRAM OF “THE TRANSFIGURATION,” BY RAPHAEL. In studying these pictures, notice how every- thing not necessary to the story is subordinated. In First Steps do we remember the cottage and the apple tree? No, it is the baby and its mother and father that are important. So in Christ and the Doctors the boy Christ gives the strongest impression. In Penelope the child head appeals. And so we may find in each picture one import- ''PICTURE STORE, 59 ant thing, the rest of the picture coming like the accompaniment of a song, simply an environment for the important thing. ‘The simple harmonies are most attractive. All kinds of line should not appear in the same picture. If we can make ourselves understood with two or three principles or combinations of them we must not try to use, in one picture or design, all the principles of which we have heard. One can put too many plums in a pudding. Instead of trying to put in all that can be put ina picture, we should leave out everything that can possibly be dispensed with. Look also for fine proportion of areas and lengths of line, and for the element of unity in rythmic repetition of similar forms and line direc- tions. Study the distribution of dark and light. See how wonderfully the values are interlaced in The Coronation of the Madonna. There are only four or five values, but they are arranged in so masterly a fashion that an infinite number are suggested. Pictures and designs are fine only as they con- form to the principles of beauty. These great principles can not be transcended; they may be combined in new ways doubtless, but to break away from them altogether is to leave beauty out of the question, and beauty is the purpose of fine art. ''no oveal ot Mendy: fe. Reon won sed ''THE PERRY PICOTUR AWARDED A GOLD MEDAL AT THE PARIS EXPOSITION, 1900. These excellent reproductions of the world’s great masterpieces may be had for one cent each, in lots of twenty-five or more. They are printed on a good quality of paper, measuring five and a half by eight inches, and the halftone plates used are the most perfect that can be obtained. The Perry Pictures in extra size, ten by twelve inches, are offered at five cents each for five or more. Our 32-page catalog and a sample picture for a two cent stamp. THE PERRY PICTURES COMPANY, Room 300, Tremont Temple, Boston, Mass. (61) '' '' '' '' ''ae es thee Ease eee be bas Peres Reape Ss saa TSA eve seitoveses ree Aire eet Ta , a} i 4 i 4 See SMA RISIL peter as Gea spe ''