Composition, a Series of Exercises in Art Structure for the Use of Students and TeachersDoubleday, Doran and Company, Incorporated, 1916 - 128 pages |
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application appreciation architecture arrange art teaching ARTHUR WESLEY DOW artist beauty blue Boston brush and ink Brush drawing charcoal Color schemes COLOR THEORY composing composition copy dark dark-and-light decoration effect element etching examples flower Greek harmony Hiroshige hues illustrations imitation ink painting intensity invention Ipswich Ipswich School Japanese design Japanese ink Japanese paper Japanese prints landscape light LINE DRAW mass and color masters ment modelling mucilage Musée de Cluny Museum nature nature-imitation NOTAN of COLOR Notan of Line notan-scheme oil paint opposite painter Parthenon pattern pencil picture pottery Pratt Institute PRINCIPLES OF COMPOSI proportions Prussian Blue pupil rectangular Reims relations Repetition rhythm rugs scale scape SESSHU shapes simple sketches space art SQUARES AND CIRCLES stencil straight lines structural student Subordination Symmetry textile texture thin three values tracings V.-COMPO variations wash water color wood block printing yellow yellow-red ܐ ܐ ܐ
Popular passages
Page 50 - It is not the province of the landscape painter, for example, to represent so much topography, but to express an emotion; and this he must do by art.
Page 4 - Study of composition of Line, Mass and Color leads to appreciation of all forms of art and of the beauty of nature.
Page 62 - Not a picture of a flower is sought, — that can be left to the botanist — but rather an irregular pattern of lines and spaces, something far beyond the mere drawing of a flower from nature and laying an oblong over it, or vice versa.
Page 62 - It is essential that the space should be cut by the main lines ; a small spray in the middle of a big oblong, or disconnected groups of flowers, cannot be called compositions ; all the lines and areas must be related to one another by connections and placing so as to form a beautiful whole.
Page 5 - ... visual music," and may be criticised and studied from this point of view. Following this new conception, he had constructed an art-educational system radically different from those whose corner-stone is Realism. Its leading thought is the expression of Beauty, not Representation.
Page 3 - For a great while we have been teaching art through imitation — of nature and the "historic styles" — leaving structure to take care of itself; gathering knowledge of facts but acquiring little power to use them. This is why so much modern painting is but...
Page 62 - Flowers,* by their great variety of line and proportion, are particularly valuable, as well as convenient, subjects for elementary composition. " Their forms and colors have furnished themes for painters and sculptors since the beginning of Art, and the treatment has ranged from abstractions to extreme realism : from the refinements of lotus-derived friezes to the poppy and rose wall-papers of the present time.
Page 44 - ... designer and picture-painter start in the same way. Each has before him a blank space on which he sketches out the main lines of his composition. This may be called his Line-idea, and on it hinges the excellence of the whole, for no delicacy of tone, or harmony of color can remedy a bad proportion. A picture, then, may be said to be in its beginning actually a pattern of lines.
Page 62 - ... decoration, hence there need be no question as to the amount of nature's truth to be introduced. The flower may be rendered realistically, as in some Japanese design, or reduced to an abstract suggestion, as in the Greek, without in the least affecting the purpose in view, namely, the setting of its lines into a space in such a way that beauty shall result — in other words, making it serve as a subject for a composition exercise. It is essential that the space should be cut by the main lines....
Page 21 - Artistic skill cannot be given by dictation or acquired by reading. It does not come by merely learning to draw, by imitating nature, or by any process of storing the mind with facts. The power is within — the question is how to reach it and use it. Increase of power always comes with exercise. If one uses a little of his appreciative faculty in simple ways, proceeding on gradually to the more difficult problems, he is in the line of natural growth. To put together a few straight lines, creating...