Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

BALANCE OF PRINCIPALITY OR ISOLATION

These qualities are not synonymous but so nearly so that they are mentioned together. In discussing the principle of the steelyard it was stated that a small item could balance a very large one whose position in point of balance was closer to the fulcrum, but to this point must be added the increase of weight and importance which isolation gives. These considerations need not be mystifying.

In the charge to Peter, “Feed my sheep,” Raphael has produced something quite at variance with his ordinary plan of construction. Christ occupies one side of the canvas, the disciples following along the foreplane toward him.

Here is an isolated figure the equivalent of a group.

The sleeping senator of Gerome's [picture] effects a like purpose among the empty benches and pillars. The main group is placed near the centre, the small item at the extreme edge. Even Cæsar in the foreground—covered by [pg 62] drapery and in half shadow—is less potent as an item of balance, than this separate figure.

BALANCE OF CUBICAL SPACE.

Finally the notion that the picture is a representation of depth as well as length and height develops the idea of balance in the chain of items from foreground to distance. A pivotal space then will be found, a neutral ground in the farther stretch from which may be created so much attraction as to upend the foreground, or in the nether reach toward us there may be such attraction as to leave the distance without its weight in the convention of parts. The group with insufficient attraction back of it topples toward us, to be sustained within the harmonious circuit of the picture only by such items of attraction behind it as will recover a balance which their absence gave proof of. This is a more subtle but none the less potent influence than the vertical and lateral balance and may best be apprehended negatively. The “aggressiveness” of many foreground items which are in themselves essential as form and correct in value is caused by the lack of their balancing complements in the back planes of the picture.

Balance is not of necessity dependent upon objects of attraction. Its essence lies in the movement from one part of the picture to another, which the arrangement compels, and this may often be stimulated by the intention or suggestion of motion in a given direction.