Composition - examples of note

Jeanine Jackson · 12-26-2006, 11:48 PM

Quote:

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 · 12-27-2006, 10:05 PM

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 · 12-27-2006, 11:20 PM

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 · 12-28-2006, 12:37 PM

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 · 12-29-2006, 07:27 PM

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 · 12-29-2006, 08:08 PM

Nice composition of the seated girl!

Mike McCarty · 12-29-2006, 09:15 PM

Quote:

Originally Posted by Michele Rushworth

Nice composition of the seated girl!

I think it may have something to do with the viewers perspective. We view her at a slightly up angle, as if we are in the audience in front, and she is on a stage just above us. It gives her a nice airy, elevated sense. Not to mention that it's just so well done. He was quit the watercolorist.

I don't know what to make of the second one. It has some of the look of "Whistler's Mother." It's an odd way of sitting on that odd chair. The subject is also pulled a little more foreward, giving her slightly more room behind in the composition than we might expect to see. And with that down turned head - it all makes me wonder ...

I love the last one's shock of color, but I'm a bit puzzled by the sharply rendered leaves just beneath her right hand. Aha, maybe it's a basket of leaves that she's carrying?

Here are a couple more by Homer:

1- Charles Savage Homer Jr., watercolor 7x5"
2- The Butterfly Girl, 37x24"