Excerpt: ... are three types of group composition; first, where the subject's interest is centred upon an object or idea within the picture as in "The Cabaret" or Rembrandt's "Doctors" surrounding a dissecting table; second, where the attraction lies outside the picture as in the "Syndics" or the "Night Watch," and third, where absolute repose is ...Read MoreExcerpt: ... are three types of group composition; first, where the subject's interest is centred upon an object or idea within the picture as in "The Cabaret" or Rembrandt's "Doctors" surrounding a dissecting table; second, where the attraction lies outside the picture as in the "Syndics" or the "Night Watch," and third, where absolute repose is expressed and the sentiment of reverie has dominated the group, as in "The Madonna of the Chair," and the ordinary family photograph. The spiritual or sentimental quality of the theme should have first consideration and dictate the form of arrangement. A unity between the idea and its form of expression constitutes the desideratum of refinement in composition. pg 151 CHAPTER X - LIGHT AND SHADE In this familiar term in art the importance of the two elements is suggested in their order. The effort of the painter is ever in the direction of light. This is his thought. Shade is a necessity to the expression of it. Chiaroscuro, -from the Italian, light obscure, in its derivation, gives a hint of the manufacture of a work of light and shade. Light is gained by sacrifice. This is one of the first things a student grasps in the antique class. Given an empty outline he produces an effect of light by adding darks. So do we get light in the composition of simple elements, by sacrifice of some one or more, or a mass of them, to the demands of the lighter parts. "Learn to think in shadows," says Ruskin. Rembrandt's art entire, is the best case in point. A low toned and much colored white may be made brilliant by dark opposition. The gain to the color scheme lies in its power to exhibit great light and at the same time suggest fullness of color. As we have discussed line and mass composition as balanced over the central vertical line, so is the question of light and shade best comprehended, as forces balancing, over a broad pg 152 middle tint. The medium tint is the most important, both for tone and color....Read Less
Very Good. New York: Baker & Taylor, 1903. Second edition. Hardcover. 282 pp. Very good, no jacket if issued. Book has slight lean. Spine sunned and edges rubbed, showing. Light staining on boards. Tissue guard at frontispiece intact.
New. 300 pages. Reprinted from 1903 edition. New 2013 edition in PAPERBACK is SEWN PERFECT BOUND, much more durable than a standard paperback. This is a quality reprint of an old book of historical value. If the original book was printed in multiple volumes than this reprint is of only a single volume. This is an exact/strict reproduction of text, no changes has been made in respect to the original text. A lot of effort has been made to check and improve each page/scan manually for its quality of text and illustrations (if any, are in b/w). Folded illustrations, if any, are not included in the book. This is not a retyped or an ocr'd book. Index, contents, etc, if any in the original book, are included. This item is printed on demand using good quality natural shade paper. The title of the book, on the cover, is in gold lettering.
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