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Pictorial Composition and the Critical Judgment of Pictures. Henry Rankin Poore
Читать онлайн.Название Pictorial Composition and the Critical Judgment of Pictures
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isbn 4064066104108
Автор произведения Henry Rankin Poore
Жанр Документальная литература
Издательство Bookwire
CHAPTER XVI - COLOR, HARMONY, TONE
CHAPTER XVII - ENVELOPMENT AND COLOR PERSPECTIVE
CHAPTER XVIII - THE BIAS OF JUDGMENT
CHAPTER XIX - THE LIVING PRINCIPLE
The Must Be's and May Be's of Composition
"
It is with sincere pleasure that I dedicate this book to my first teacher, Peter Moran, as an acknowledgment to the interest he inspired in this important subject
Preface
This book has been prepared because, although the student has been abundantly supplied with aids to decorative art, there is little within his reach concerning pictorial composition.
I have added thereto hints on the critical judgment of pictures with the hope of simplifying to the many the means of knowing pictures, prompted by the recollection of the topsyturviness of this question as it confronted my own mind a score of years ago. I was then apt to strain at a Corot hoping to discover in the employment of some unusual color or method the secret of its worth, and to think of the old masters as a different order of beings from the rest of mankind.
Let me trust that, to a degree at least, these pages may prove iconoclastic, shattering the images created of superstitious reverence and allowing, in their stead, the result in art from whatever source to be substituted as something quite as worthy of this same homage.
The author acknowledges the courtesies of the publishers of Scribners, The Century and Munsey's magazines, D. Appleton, Manzi, Joyant & Co., and of the artists giving consent to the use of [pg 3] their pictures for this book. Acknowledgment is also made to F. A. Beardsley, H. K. Freeman and L. Lord, for sketches contributed thereto.
Henry Rankin Poore
Orange, N. J., Feb. 1, 1903.
Preface to Second Edition
The revision which the text of this book has undergone has clarified certain parts of it and simplified the original argument by a complete sequence of page references and an index. The appendix reduces the contents to a working formula with the purpose of rendering practical the suggestions of the text.
In its present form it seeks to meet the requirements of the student who desires to proceed from the principles of formal and decorative composition into the range of pictorial construction.
H. R. P.
Preface to Tenth Edition
After twelve years Pictorial Composition continues with a steady demand. Through the English house it has become “a standard” in the British Isles and finds a market in India and Australia.
At the request of a few artists of Holland it has been translated and will shortly be issued in Dutch.
Illustrations
Light and Shade--Geo. Inness
Fundamental Forms of Construction
Why Art Without Composition is Crippled: The Madonna of the Veil--Raphael; The Last Judgement--Michael Angelo; Birth of the Virgin Mary--Durer; The Annunciation--Botticelli; In Central Park; The Inn--Teniers
Three Ideas in Pictorial Balance
Pines in Winter (Unbalance); The Connoisseurs--Fortuny (Balance of the Steelyards)
Portrait of Sara Bernhardt--Clairin (Balance Across the Natrual Axis)
Lady with Muff--Photo A. Hewitt (Steelyard in Perspective)
Lion in the Desert--Gerome (Balance of Isolated Measures); Salute to the Wounded--Detaille (Balance of Equal Measures)
Indian and Horse--Photo A.C. Bode (Oppposition of Light and Dark Measures); The Cabaret--L. L'hermitte (Opposition Plus Transition)
Along the Shore--Photo by George Butler (Transitional line); Pathless--Photo by A. Horsely Hinton (Transitional Line)
Hillside (Graded Light Upon Surfaces; Cloud Shadows); River Fog (Light Graded by Atmospheric Density); The Chant (Gradation through Values of Separated Objects)
The View-Metre
Three Pictures Found with the View-Metre