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href="#ulink_f799bef4-eb1f-5a7b-84cc-d1001651c898">CHAPTER XV - THE PICTURE SENSE

       CHAPTER XVI - COLOR, HARMONY, TONE

       VALUES.

       CHAPTER XVII - ENVELOPMENT AND COLOR PERSPECTIVE

       CHAPTER XVIII - THE BIAS OF JUDGMENT

       CHAPTER XIX - THE LIVING PRINCIPLE

       APPENDIX

       The Concept

       The Procedure

       Design

       Line

       The Vertical

       The Horizontal

       The Diagonal

       Principality and Sacrifice

       The Dominant Idea

       Harmony

       The Must Be's and May Be's of Composition

       Perspective

       Balance

       Color

       Tone

       Quality

       Don'ts

      "

       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

       Table of Contents

      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

       Table of Contents

      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

       Table of Contents

      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

       Table of Contents

       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

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