Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

The argument of the book is here reduced to a working basis.

The Concept

The first point settled in the making of a picture after the subject has germinated, is the shape into which the items of the concept are to be edited; the second is the arrangement of those items within the proscribed limits; the third is the defining of the dark and light masses. This consideration forces the question whence the light, together with its answer, hence the shadow.

The Procedure

The detail of the direction of light and the action of the shadows cuts the pictorial intention clear of the decorative design. Design is a good basis, its simplicity yielding favorably to the settlement of spaces and the construction of lines, but its chief purpose ends when it has cleared the field of little things and reduced the first conception, which usually comes as a bundle of items, to a broad and dignified foundation into which these little things are set.

Design

A severe, space-filling design in three tones or four will place the student in a position of confidence to proceed with detail which, until the design has settled [pg 266] well into its four sides, should be persistently excluded. It may, however, be found that the essence of certain subjects lies in a small item of detail. This, when known, must be allowed for in the design.

Line

Of first importance in composition is the notion of Light and Dark, to which Line is second. In the tone design line is but the edge of the masses. Line as the basis of the form of the design is reduced to a few forms which with modifications become the framework for all pictorial structure. (See [Fundamental Forms.]) Line as an element of beauty sufficient of itself to become subjective is rare, an exception in pictorial art. (See [Line])

The æsthetics of Line must be comprehended and felt in its symbolism. The form into which lines may lead the subject should have the full knowledge of the composer.