Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

BALANCE BY OPPOSITION OF SPOTS.

Spots or accents are in the majority of cases equivalent to a line. The eye follows the line more easily, but the spot is a potent force of attraction and we take the artist's hint in his use of it, often finding that its subtlety is worth more than the line's strength. In the case of a simple hillside back-stopped by a dense mass of trees, a flat and an upright plane are presented, but until the vision is carried into and beyond the line of juncture the opposition of mere planes accomplishes little, the only thing thus established being a strong effect of light and shade and not until the eye is coaxed into the sky so that there be established a union between the pathway or other object on the hill and the distance, will balance by transition be effected.

This is one of the subtlest and most necessary principles in landscape composition. The illustration herewith is of the simplest nature but the principle may be expanded indefinitely as it has to do both with lateral and perspective balance.

In the [“Death of Cæsar,”] the perspective line of the statues and the opposite curve in the floor are continued through the opposing mass of columns and wall to the court beyond, a positive control of the distance by the foreground, being thus secured.

TRANSITION OF LINE.

More effective than opposition, as the cross bar is more effective for strength than the bar supported on only one side, is Transition, or the same item carried across, or delivered to another item which shall cross a line or space.

In the group of peasants in the [Cabaret] note the use of lines of opposition and transition, in the single figures and when taken in twos. The laborer (with shovel) in his upper and lower extremities exhibits a large cross which becomes larger when we add the table on which his extended arm rests and the figure standing behind him. The ascent of this vertical is stopped by the line of the mantel and then continued by the plate and picture. So in minor parts of this group one may think out the rugged energy of its composition, nor anywhere discover a single curved or flowing line. Nor does it require an experienced eye to note the pyramidal structure of the various parts. In the action of the heads [pg 56] and bodies of the two central figures is another strong example of oppositional arrangement. The heavily braced table is typical of the whole.

In landscape the transitional line from land into sky is often impossible and objectionable. The sentiment of the subject may deny any attempt at this union. Here the principle only, should be hinted at. In the case of a sunset sky where the clouds float as parallel bars above the horizon and thus show the character of a quiet and windless closing of day, a transitional line such as a tree, mast or spire may be unavailable. Oppositional spots or lines attracting the vision into the land and thus diverting it from the horizontals are the only [recourse]. In the shore view the sun's rays create a series of lines which admirably unite with the curve of the wagon tracks. The union of sky and land is thus effected and meanwhile the subject proper has its ruggedness associated with the graceful compass of these elements.