Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

Pictorial art owes a large and increasing debt to decorative art and no small part of this is its simple beauty of line. It is rare however to find the painter governed in his first conception by any positive linear form. The outlines of great compositions only hint of decorative structure and give no evidence that they were planned as linear designs. The requirement of linear design that she beautifully fill a space is met by pictorial composition through the many correlative opportunities which in her broader range are open to her, by which she adds to the fundamental forms of construction (which often prove bad space fillers) such items as connect their outlines with the encasement or frame. With some ingenuity advocates of pure design as the basis of pictorial structure, point out the similarity of certain compositions to formal, ornamental design or type forms of plants, flowers, etc., yet omit to state how many of the best compositions they reject in their search for the happy hit or to allow for the fact that in those which they cite, cruel disturbance of the beautiful scheme could easily be wrought by slight reconstruction, leaving the work quite as good. The author's contention is directly opposed to the notion that pictorial art is dependent on the flat plan of the design, which is only contributory, but that its essence is known by an apprehension of balance through the depth of the picture. Pictorial art is not an art of two dimensions but of three.

CHAPTER VIII - THE COMPOSITION OF ONE, TWO, THREE AND MORE UNITS

Starting with a single idea represented by a single unit the coexistent thought must be the frame or canvas circumference. Supplying this we may then think of the unit as a matter of proportion. When the amount of space allowed the unit has been decided, the space between its circumference and the dimensions of the canvas, or what may be called the surplus or contributing area is the only thing that remains to engage us. Let the unit be a standing figure, or a portrait, head and shoulders.

The unification of a unit, enclosed in four sides, with those sides can only be accomplished by either having the mass of the figure touch the sides of the canvas, or stretch toward them with that intent. According to the strength or number of such points of attachment will the unit be found to maintain a stable existence amid its surroundings. In the case of the single figure standing within the frame where no chance of contact occurs, the background should show an oppositional mass or line attaching at some point the vertical sides of the figure to the sides of the canvas. An equivalent of such a line is a gradation, often the shadow from the figure serving to effect this union. If the shadow unites the outline with the background in such a tone as to subdue or destroy this [pg 133] outline, the attachment becomes stronger and at the same time the positiveness of outline on the light side finds its contrast and balance in this area of mystery and envelopment.

A development by chiaroscuro is a necessity to the pictorial unity of the single figure.

In the portrait of Olga Nethersole (see “The Pose in Portraiture”), the photographer presents the section of a figure; not a picture. The spaces in the background form no scheme with the figure and have not been used to relieve the lines of the skirt. The sacrifice in half-tone of the lower part would have given prominence to the upper and more important part. Owing to the interest and attraction of the triplicated folds of the dress the vision is carried all the way to the lower edge, where it is irritated by the sudden disappearance. The picture has no conclusion. It is simply cut off, and so ended.

It is the opinion of some artists that the portrait having for its purpose the presentation of a personality should contain nothing else. With the feeling that the background is something that should not be seen, more art is often expended in painting a space with nothing in it than in putting something there that may not be seen. In doing nothing with a background a space may be created that says a great deal that it should not.

There is nothing more difficult than the composition of two units especially when both are of equal prominence. The principle of Principality sets its face sternly against the attempt.

One must dominate, either in size, or attraction, either by sentiment or action.