THE RECTANGLE
The last of the great forms of composition is the rectangle, but this always in connection with oppositional balance. Such a form attaches itself to two sides of the picture and the importance of a reacting measure is obvious. In this lies the warrant for its use, for without it unity is impossible. Of the six fundamental forms of composition this is the only one which is dependent, all the others containing within themselves the element of balance.
The rectangle plus the isolated measure approaches the completeness of the cross and in the degree it lacks this completeness it develops opportunities for originality.
In the [landscape by Corot] the letter L is plainly shown. In the diagram of Fundamental Forms also, the tree-mass, cow and river bank in shadow serve as a sombre foil for the clump of trees upon the opposite shore which are bathed in the soft luminous haze of early morning. This is the real attraction which, grafted upon the heavy structure of the foreground affects us the more through the contrast. In Mr. Pettie's picture of [“James II and the Duke of Monmouth,”] we have the opposition of the two lines, the attraction in the open space being the line of seats along the wall. These, in the dimly lighted [pg 130] interior, are scarcely assertive enough to effect the diversion which the open structure demands.
In perspective this arrangement merges into the triangle which has already been discussed. The [“Sheep and Shepherd,”] by Jacque is constructed upon the L reversed and is an unusually strong example of a rare arrangement.
LINE
Structural line, or that which stands for the initial form of the picture and conjunctive line, or that which joins itself naturally to such form are the two phases of line which engage the scientific study of the artist. Line for line's sake is an opportunity offered him quite apart from structural considerations. Line has a distinct aesthetic value no less than one contributive to picture mechanics. Thus pictures conceived in vertical lines bespeak dignity, solemnity, quietude; pillars, trees of straight shaft, ascending smoke and other vertical forms all voice these and allied emotions. With slightly less force does a series of horizontals affect us and with a kindred emotion. But when the line slants and ceases to support itself, or becomes curved, movement is suggested and another set of emotions is evoked. The diagonal typifies the quick darting lightning. The vertical curved line is emblematic of the tongue of flame; the horizontal curve, of a gliding serpent. In the circle and ellipse we feel the whirl and fascination of continuity. The linear impulse in composition therefore plays [pg 131] a part in emotional art independent of the subject itself.
