Composition - examples of note

[Mike McCarty]

Below are the paintings of John Everett Millais, 1829-1896, English Pre-Raphaelite painter and illustrator. Teacher of Frank Dicksee and president of the Royal Academy of Art - 1896.

1- Self Portrait
2- A Souvenir of Velasquez
3- My Second Sermon, watercolor 1864
4- Lord Alfred Tennyson

Ulysses
by Lord Alfred Tennyson (the last half)

There lies the port; the vessel puffs her sail;
There gloom the dark, broad seas. My mariners,
Souls that have toil'd, and wrought, and thought with me,--
That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads,-- you and I are old;
Old age hath yet his honor and his toil.
Death closes all; but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks;
The long day wanes; the slow moon climbs; the deep
Moans round with many voices. Come, my friends.
'T is not too late to seek a newer world.
Push off, and sitting well in order smite
The sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down;
It may be we shall touch the Happy Isles,
And see the great Achilles, whom we knew.
Tho' much is taken, much abides; and tho'
We are not now that strength which in old days
Moved earth and heaven, that which we are, we are,--
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

[Jeanine Jackson]

Originally Posted by Mike McCarty

...strong in will
To strive, to seek, to find, and not to yield.

The paintings you have shared here, Mike, are inspirational indeed! Thank you!

[Carol Norton]

Many times, we have basic questions that we are afraid to ask. Having taught children for 30 years, I did my best to eliminate that fear. The reason that I understood their concern is revealed below. I privately emailed Mike as I thought my question surely must be a VERY naive one and not wanting to appear as the "only one," I was sure tht the rest of the world OBVIOUSLY KNEW the answer and I didn't. While I didn't post my question for the whole world to read, Mike encouraged me to do so. All I can say is, "He better be right!!

Mike:
I have loved your composition thread! Loved it! Now, I am sending this question to you via private email as I am quite SURE that it is way to stupid to send on "The Phorum." The Golden Mean. I was under the impression that that perfect spot was where the lines intersect - something that has given me trouble when composing various paintings. What your lines indicate in the last several posts suggest is that the Golden Mean is the quadrant that their intersection creates. If that is correct, that makes composing a painting a whole lot easier.

I'll be thankful for your answer.
__________
Carol,

It's not a dumb question, especially the way I presented it. I first stated that there was a single point of interest, but later discovered that it is indeed a rectangular section, and possibly many sections. I sure wouldn't mind if you ask the question on the forum. I may not have cleared up these points sufficiently.

Mike

[Mike McCarty]

Carol,

What a dumb question! Ha, just kidding.

I think you've got it right. In all my research I've not been able to find anything that suggests that the "golden section, mean, ratio" can be reduced to a single point on the canvas. They are rectangular sections created in a specific way with the use of Phi or phi, and hold within them the main components, or points of interest within the composition.

You can do a google search on "golden section" and get a ream of information on the subject. Much of it is mathematical some of it relates to art specifically.

Sorry about the conphusion.

[Carol Norton]

Thanks, Mike. The source of my misunderstanding began in a posting from Karin Wells (6.17.02) saved in my treasured notebook of Forum wisdom. Karin states that "The intersection of the two lines described above is the exact point of the kiss in my painting below." It's a beautiful painting of a mother and child. That information in addition to input from a landscape painter that I studied with, who divided up his canvas into 6 quadrants telling students that the "star performer" should go on one of the intersections, I falsely assumed that the center of interest had to be on that line intersection. It's interesting how a "little information" can lead to false conclusions. Your post has been very liberating as it sure opens up a lot more space in a composition for the focal point. I guess it's not just children who take things literally!!!

[Mike McCarty]

These compositions by Winslow Homer, American artist 1836-1910, are among the most interesting that I have come across.

1- Girl Seated, watercolor 1879
2- Portrait of Helena de Kay 12x18
3- A Summer Night
4- Autumn 1877

[Michele Rushworth]

Nice composition of the seated girl!