DOI Page / Citation link:
https://doi.org/10.11588/diglit.43161#0018
10
Composition is the grouping and arrangement of pictorial materials, to
express the unity of an entire impression. Nothing marks more strongly the
invention of the painter, nor more strongly implies talent, than the power of
disposing individual parts, so that they are kept subservient to a whole; for
it is not the number of objects, nor particular features, which give pleasure
and satisfaction, but what is termed general effect.
A picture may consist of many parts, and possess a variety of interest; but,
instead of being a display of “ boastful art,” distracting to the eye, the painter
skilfully marshals every feature, and prevents the obtrusion of one object to
the prejudice of another; creating that unity of design, that essential breadth,
which constitutes real excellence, whether it be in composition, or colour, or
light and shadow.
The whole design must be clearly conceived before the picture is begun :
nothing should be admitted or omitted at random. Each object has, in truth, a
place proper for itself, and all that is introduced should be with an intention. In
the painter’s sketch, or study, the treatment, or broad intention, which it is his
object to secure, must be strongly expressed, leaving all minute details to be
supplied as they may be required, or as they may suggest themselves in the
progress of the work.
The feeling how best to dispose of circumstances, or to make those altera-
tions which may be thought necessary to perfect a picture, should be caught from
Nature, at the time of making the sketch. This is one of the most certain means
of improvement, and so important, that no temptation should be an inducement to
neglect it. At that time is seen the fitness of combinations to ensure harmony in
Composition is the grouping and arrangement of pictorial materials, to
express the unity of an entire impression. Nothing marks more strongly the
invention of the painter, nor more strongly implies talent, than the power of
disposing individual parts, so that they are kept subservient to a whole; for
it is not the number of objects, nor particular features, which give pleasure
and satisfaction, but what is termed general effect.
A picture may consist of many parts, and possess a variety of interest; but,
instead of being a display of “ boastful art,” distracting to the eye, the painter
skilfully marshals every feature, and prevents the obtrusion of one object to
the prejudice of another; creating that unity of design, that essential breadth,
which constitutes real excellence, whether it be in composition, or colour, or
light and shadow.
The whole design must be clearly conceived before the picture is begun :
nothing should be admitted or omitted at random. Each object has, in truth, a
place proper for itself, and all that is introduced should be with an intention. In
the painter’s sketch, or study, the treatment, or broad intention, which it is his
object to secure, must be strongly expressed, leaving all minute details to be
supplied as they may be required, or as they may suggest themselves in the
progress of the work.
The feeling how best to dispose of circumstances, or to make those altera-
tions which may be thought necessary to perfect a picture, should be caught from
Nature, at the time of making the sketch. This is one of the most certain means
of improvement, and so important, that no temptation should be an inducement to
neglect it. At that time is seen the fitness of combinations to ensure harmony in