Composition - examples of note

Enzie Shahmiri · 10-26-2006, 11:16 AM

This is by an Iranian painter Morteza Katouzian, the painting is titled "Red Alert". I am sorry, but I don't have a better scan.

Notice how the relative emptiness on one side adds to the feeling of inbalance, things being not right in the world of these figures. Composition wise, he chose not to make them the focal point on the canvas, yet the eye of the viewer keeps going back to the figures, because of the formal triangle composition, which unites the figures and give them higher visual impact.

This artist has the skill to render the human form, but he deliberatly chooses to give the figures an almost transparent feel. The color choices are deliberate, the figures being in soft values in comparison to the almost neon red clouds, add to the sense of danger for the threesome.

Here is a artist that in my opinion breaks many of the rules. Still he was able to create a work that is both sensitive to the plight of the individuals and yet jarring due to the setting he conveys. The artist made his statement and followed his heart!

John Reidy · 10-26-2006, 11:38 AM

I take a different view of the composition.

I feel that the artist broke no rules but used them in a different way. There is the strong triangle and he uses the rule of 3's, dividing his canvas into thirds. The strong reds juxtaposed to the human figures create an interest that plays back and forth.

Thank you Enzie for posting such a beautiful piece that illustrates just how well good composition can work.

Mike McCarty · 10-26-2006, 04:05 PM

I look at it this way -- there are story lines, themes, and messages; they can be poignant, disturbing, or wistful, but I don't think the Gods of composition get involved in such matters. I think there's is more the work of shapes and relationships. Also, I don't think they much get into the style business either. Even highly impressionistic work must deal with these same compositional issues. True, the edges may be less defined, but masses and their relationships to one another would still come in to play, especially when we step back and let some of those stylized components fall away.

And too, I hope anyone reading my remarks understands that they are always in the form of a question and up for challenge. If I really step in it I hope someone will come forward and set the record straight. Of course they'll be no fruit cake for Christmas, but you shouldn't consider that, yours is a solemn obligation to the horde and throng.

Even an argument can be well composed ...

Tom Edgerton · 10-26-2006, 04:26 PM

Mike--

This post is tremendous...thanks for your generosity and industry in keeping it going for awhile.

I've been downloading the examples to my swipe file as fast as they come up. New treasures every day.

Best--TE

Mike McCarty · 10-26-2006, 05:12 PM

Thank you Tom.

I've learned a lot from the research, I think.

Horde and Throng also thank you (Twins, brother and sister from my fifth marriage. Good kids, love crowds).

Everyone should know by now to take much of what I say with a few grains of salt.

Enzie Shahmiri · 10-27-2006, 12:59 PM

John, now I have to go reread about the rule of 3's! Thanks for pointing that out....

Mike, I have to join Tom in thanking you for the treasures you undig. There are several painting that are just awesome, which I had never seen as well.

I am curious if you wouldn't mind what you have learned from your research. Of course it will be taken with a grain of salt!

Linda Brandon · 10-27-2006, 08:22 PM

Mike, I have come back to look at that Dicksee painting at least ten times (and like Tom, finally swiped it). (And what a wonderful thread this is, thank you!)

Mike McCarty · 10-27-2006, 08:55 PM

Quote:

Mike, I have come back to look at that Dicksee painting at least ten times (and like Tom, finally swiped it).

Linda,

It has become one of my favorites as well. It brings to mind the advice about not being concerned with "time spent" on your project. Some aspects of this painting must have taken a goodly while to execute. Well worth whatever time when you consider ...

Quote:

I am curious if you wouldn't mind what you have learned from your research.

Enzie,

I've never really done much study of art history. Thanks to all the resources on the web you can pretty much create your own study program. I think the more you stare at these really good works of art the more the principles of design sink in. It certainly couldn't hurt.

Also, without a lot of academic training, you tend to stumble upon things over long periods of time which you suspect are good, true and beneficial. The more exposure you are able to get to the really good stuff gives you more opportunities validate your suspicions, or not. You begin to formulate and refine your "template" of what is valuable, not so valuable, and what is down right essential. I am particularly stubborn about accepting what I hear to be "absolutely essential," especially when my path has indicated something different. This stubbornness will sometimes work in my favor, sometimes not.

The study of art has revealed many things to me about myself and the way I take in information. Also, how my ways can differ from others and still be valid. I wish I'd understood some of these principles when I was younger, I'm sure I could have been more effective in many ways, and in many other aspects of my life.

Sir Frank Dicksee - The Mirror
37x46 1896