t or tonal quality,
by the later works of George Fuller and Albert Ryder. Under these
specified classes the lists of names in art are now lengthening and
shortening, the indications of our present art pointing to a revival of
the color quality of a former age.

[Alice--W.M. Chase (Verticals Diverted); Lady Archibald Campbell--Whistler
(Verticals Obliterated); The Crucifixion--Amie Morot (Verticals Opposed)]

Don'ts

It was stated in the introduction that the commandments of this book would
be the "must nots," yet for him who apprehends principles, commandments do
not exist. A few conclusions from the foregoing arguments may, however,
be of service to beginners in the practice of composition.

Structures to be avoided are:--

Those in which the lines all run one way without opposition:

Those especially in which the bottom of the frame is paralleled:

Those in which the perspective of a line or the edge of a mass happens to
be a vertical:

Those in which an opposing plane or attractive mass barricades the
entrance of the picture:

Those in which two masses in different planes happen to be the same size:

Those in which objects of equal interest occur in the same picture:

Those in which an object awkwardly prolongs a line:

Those in which the line of the background duplicates the lines of the
subject:

Those in which the picture is cut by lines too long continued in any
direction:

Those in which radial lines fail to lead to a focal object:

Those in which the items of a picture fail to present a natural sequence:

Those in which the subject proper is not dignified by a conspicuous
placement or is swamped by too attractive surroundings:

Those in which the most energetic forms of construction are not allied to
the principal but to secondary parts of the picture:

Those formal compositions in which greater interest is shown at the sides
than in the centre:

Those in which the aesthetic principle of the constructive form is
antagonistic to the sentiment of the subject.

***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL COMPOSITION AND THE CRITICAL JUDGMENT OF PICTURES***

CREDITS

September 9, 2008

Project Gutenberg Edition
Martin Schub

A WORD FROM PROJECT GUTENBERG

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