Composition - examples of note

[Mike McCarty]

Out of curiosity I've tried to apply the Golden Section to the above Camuccini painting of Caesar's death. It would appear that some consideration was given to these principles.

Although, with the Golden Section calculations there doesn't appear to be any real guidelines as to where you start or when to finish. My thinking is that as long as you stick to the principles you can create as many sections as you wish and stop anytime. It just depends on how complicated the composition is. This composition having quite a few scattered elements it begged for more than a few of sections.

It's interesting how elements of the painting keep leading you back around and to the center of the action. The arm in the bottom left stops your eye and delivers you up to the statue which then points you to the right and across to the fellows (obviously only able to muster enough courage to flip the finger at Caesar, they're probably demanding a timetable for withdrawal) that again point back toward the action along with those at the bottom right.

[Mike McCarty]

Emile Munier was born in Paris on June 2, 1840 and lived with his family at 66 rue des Foss

[John Reidy]

Mike,

At the beginning of my not so illustrious pursuit of the portrait I turned up my nose at the idea of painting children.

I have come to discover that these little people are far more interesting and challenging to do justice. In addition I have found that to create a happy client I must capture the identity of the child in the Parent's mind and not necessarily just a likeness.

The simple story conveyed by and for the third painting is illustrious of just how my pride causes me to overlook the beauty of a thing.

Thank you for the post.

[Mike McCarty]

John,

Still, others would call these trite or sentimental. Usually people in the trade, people that look at paintings all day long. I try and see a painting on my wall apart from the weight of those that know so much. At the end of the day we all have to figure it out for ourselves.

Here are a few more from Emile Munier, always with the hands and feet:

1- The Broken Vas 36x24
2- La Lettre
3- Distracting the baby 20x15

And finally, one of our recent arrivals to Florida. Probably just arrived from Minnesota looking for a condo - something in oak.

[Mike McCarty]

This first image is from Eugene de Blaas and is interesting because of the placement of the signature. Sometimes it gets to be a challenge as to where to place your mark but on this composition there seems to be other more traditional opportunities. I am of the opinion that the placement of the signature can often act as an integral part of the composition. I don't suggest that this placement is wrong, it's just different.

And another interesting composition from Alphonse Mucha.

1- Portrait of a lady, Pencil-WC-Gouache
2- The Artist , Oil on canvas board, 1920

[SB Wang]

http://en.wikipedia.org/wiki/Design_thinking

http://www.cheathouse.com/essay/essa...ssay_id=109932

http://www.monash.edu.au/lls/llonlin...riting/1.1.xml

[Enzie Shahmiri]

I like Munier's work, because he not only captures the iamge of children well, but also creates a narrative around what these kids might be doing.

SB, great points are made at that site.