Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

Overview

"Pictorial Composition and the Critical Judgement of Pictures: A Handbook for Students and Lovers of Art" by Henry Rankin Poore offers timeless art instruction on the fundamental principles of composition. Aimed at both aspiring artists and discerning art enthusiasts, this classic guide provides a comprehensive approach to understanding and creating visually compelling artwork.

Explore essential techniques for drawing and painting, coupled with insightful art criticism to sharpen your artistic eye. Delve into the core elements of pictorial composition, learning how to arrange visual elements effectively to create harmonious and impactful images.

Poore's handbook serves as an invaluable resource for anyone seeking to deepen their understanding of art. Discover the enduring principles that underpin great works of art and cultivate your own critical judgement. Whether you're a student eager to master the fundamentals or an art lover seeking a richer appreciation, this book offers enduring wisdom and practical guidance.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Product Details

ISBN-13:	9781023150293
Publisher:	Anson Street Press
Publication date:	03/28/2025
Pages:	224
Product dimensions:	6.14(w) x 9.21(h) x 0.47(d)

Read an Excerpt

Lion In The Desert Glromc Balance of Isolated Measures Salute To The Wounded Delaille Balance of Equal Measures Pines In Winter Unbalance The Connoisseurs Forluny Balance of the Steelyards ing, the artist must create something, with the conclusion that some element of the picture was lacking. In the snow-scene the eye is attracted from the pine-trees to the houses on the left and rests there, no attraction having been created to move it to the other half of the picture. What is known as divided interest in a picture is nothing more than the doubt established by a false arrangement of balance, too great an attraction being used where less weight was needed. The artist must be the judge of the degree of satisfaction he allows this feeling, but no one can ignore it and obtain unity. The question of degree must have a caution placed before it; for in an attempt to create a balance on the opposite side of the vertical the tendency is to use too heavy a weight. The whole of the subject is sometimes made to take its place well on one side and another item would seem redundant. Two points will be noticed in all of such cases: that the opposing half may either be cut off without damage, or greatly elongated, and in both forms the picture seems to survive.1 The fact becomes an argument for the theory of balance across a medial upright line; in the first instance by shifting the line itself into the centre of the subject, and in the second by securing more weight of space with which to balance the subject. The portrait of Sarah Bernhardt,' an excellent composition from many points of view, finds its most apparent balance on either side of the sinuous line of light through the centreexhibiting the axis, which many pictures show in varying degree...