DOI Page / Citation link:
https://doi.org/10.11588/diglit.43161#0019
11
the composition. Memory must not be trusted to complete at home what can be
clone, and only well done, on the spot. The artist is then borrowing a leaf from
Nature’s own book : from the pages of that great Teacher who will enable him
to surmount the most formidable difficulties, and place within his reach all her
choicest beauties. Every sketch thus macle, even though slight, is of more real
value than portfolios of home-finished drawings, which, however carefully executed,
will never possess the freshness and force inseparable from first thoughts. More
mischief is done by thus endeavouring to improve upon an original outline, or
effect, than the nicest execution can ever compensate.
The forms of composition are infinite in number, but no one is exclusively
perfect. Triangular, or pyramidal composition, has been selected and introduced
in some of the following examples, as exemplifying a principle easily understood.
It is applicable to almost every variety of subject, and is, perhaps, hardly ever
unpleasant to the eye ; it may be adopted to advantage where the subject will
admit of it, but as there cannot be any general rule, the taste of the artist will
be the best and sufficient guide.
The practice of introducing equal quantities on each side of the picture,
or large objects in the centre, is very objectionable, and should be, as far as
possible, avoided; but when necessary, in order to preserve locality, good feeling
will prevent such forms from being obtrusive, or appearing as competitors to the
eye; it being bad taste to set up rivals, where the value of one acts against
the other.
There is a higher class of composition, and a separate style of art, sometimes
called poetical, which is addressed more to the imagination than to the senses, and
2 c
the composition. Memory must not be trusted to complete at home what can be
clone, and only well done, on the spot. The artist is then borrowing a leaf from
Nature’s own book : from the pages of that great Teacher who will enable him
to surmount the most formidable difficulties, and place within his reach all her
choicest beauties. Every sketch thus macle, even though slight, is of more real
value than portfolios of home-finished drawings, which, however carefully executed,
will never possess the freshness and force inseparable from first thoughts. More
mischief is done by thus endeavouring to improve upon an original outline, or
effect, than the nicest execution can ever compensate.
The forms of composition are infinite in number, but no one is exclusively
perfect. Triangular, or pyramidal composition, has been selected and introduced
in some of the following examples, as exemplifying a principle easily understood.
It is applicable to almost every variety of subject, and is, perhaps, hardly ever
unpleasant to the eye ; it may be adopted to advantage where the subject will
admit of it, but as there cannot be any general rule, the taste of the artist will
be the best and sufficient guide.
The practice of introducing equal quantities on each side of the picture,
or large objects in the centre, is very objectionable, and should be, as far as
possible, avoided; but when necessary, in order to preserve locality, good feeling
will prevent such forms from being obtrusive, or appearing as competitors to the
eye; it being bad taste to set up rivals, where the value of one acts against
the other.
There is a higher class of composition, and a separate style of art, sometimes
called poetical, which is addressed more to the imagination than to the senses, and
2 c