Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

It is not sufficient that pictures have lights and darks. The balance here is quite as important as line and measure. The proportion of light to dark depends on the importance required by certain parts of the picture. Effectiveness is given to that end of the scale which is reserved in small quantity. The white spot attracts in the [“Dead Warrior,”] the dark spot in the [“Lion of the Desert.”] A comparison of the [“Night Watch”] and the [“Landscape”] by Inness will show that both are constructed on a medium tone on which strong relief is secured by contrasts of light and dark. Isolated spots occur through each contributing an energy opposed to the subtle gradations of the large spaces. The [pg 168] rich depths of the background and the frequent opposition of shadow with light in the landscape are very typical of Inness' art and we know that the “Night Watch” contains the best thought and richest conclusions of the greatest master of light and shade.

The type forms in light and shade are less pronounced than those of linear construction, though through all compositions of effect, certain well defined schemes of chiaroscuro are traceable. As soon as any one is selected it rests with the artist to vary its conventional structure and make it original.

Lack of a well-defined scheme of light and dark however, is ruinous to any pictorial or decorative undertaking.

The accompanying wood interiors are introduced in proof that light and shade rather than form is the pictorial element of greatest value. In both pictures the principles of chiaroscuro are strongly expressed, and we look closely before discovering that the first one is the second placed on end.

Analysis of pictures into light, dark, and halftone develops the following forms.

GRADATION

Light being the happy and positive side of art presentation, any form or modification of it partakes of its quality. The gradation bespeaks its tenderness, and, much as we may admire light's power, this, by its mere variety, is more attractive.

We well endure the shadow if in it can be noticed a movement toward the light. Technically, an ungraded shadow means mud. One in which reflection plays a part speaks of the life of light and in it we feel that promise. We know it to be on its travels, glancing and refracting from every object which it touches. The shadows which it cannot penetrate directly, receive its gracious influence in this way and always under a subtler law which governs its direct shining—by gradation.

Most good pictures are produced in the medium range and the ends of the scale are reserved for incisive duty. A series of gradations in which the grace and flow of line and tone are made to serve the forcible stroke which we see, presents a combination of subtlety and strength. Again the art of Inness affords illustration.