Compare this composition in line with the "Descent from the Cross," in which the line is equally marked, but more complicated, and used in connection with mass to a much greater extent, and involved with interrelations of chiaroscuro and color. Consider the effect which each picture derives as a whole from this management of these elements. The one emphasizing that of line, with the resultant of rhythm and grace; the other balancing the elements, and so gaining power and impressiveness.
The Sower. Millet.
To show arrangement in mass and line, in which the mass gives weight and dignity without weakening the emphasis of rhythm in the line.
Often the whole composition should be a balancing of the elements, as in this case. But the emphasizing of one element will always emphasize the characteristics to which those elements tend as the main characteristic of the picture.
Grace, rhythm, movement, come most naturally from arrangement chiefly in line. If mass comes into the picture, the masses may be arranged to help the line, or to modify it. In "The Sower" the management of mass is such as to give great dignity, and almost solemnity, to the picture, yet not to take away from the rhythmic swing and action of the figure which comes from line, but even to emphasize it. Compare this in these respects with the lighter grace of "The Golden Stairs" and the less unified movement, but greater activity, of the "Descent from the Cross."
Of course masses will come into the picture; but either the masses themselves can be arranged into line, or there can be emphasis given to lines which break up or modify the masses, so that the character of the picture is governed by them.
Mass.—In the arrangement of mass, light and shade and color are effective. Smaller groups may be made into a larger one, and individual objects also brought together, by grouping them in light or in shade, or by giving them a common color.