Composition in art.

By:

Poore, Henry Rankin, 1859-1940

Material type: Text

TextPublication details: New York, Sterling Pub. Co. [1967]Edition: [Rev. and enl. ed.]Description: 96 p. illus. (part col.) 29 cmContent type:

text

Media type:

unmediated

Carrier type:

volume

Subject(s):

DDC classification:

701.8 POO 23 18080

LOC classification:

N7430 .P62 1967

Contents:

The importance of balance Balance of the steelyard Rules Scale of attraction Vertical and horizontal balance The natural axis Apparent or formal balance Balance by opposition of line Balance by opposition of spots Transition of line Balance by gradation Balance of principality or isolation Balance of cubical space Entrance and exit Getting into the picture Getting out of the picture Circular observation Circular composition Reconstruction for circular observation Angular composition The triangle The vertical line in angular composition Angular composition based on the horizontal Line of beauty Structural line Composition with one or more units Two units Three units Groups The figure in landscape Light and shade Principality Gradation

Summary: A painting's technique, color, and perspective may all be excellent, yet the painting will fail unless its composition succeeds. Composition is the harmonious arranging of the component parts of a work of art into a unified whole. Henry Poore examines the works of old masters and moderns in this book and uses these examples to explain the principles of compositions in art. All the paintings that the author analyzes are illustrated in the text - 166 illustrations, including 9 in full color. Thirty-two diagrams by the author accompany his textural discussion of such topics as the importance of balance, entrance and exit, circular observation, angular composition, composition with one or more units, and light and shade. Balance is the most important of these topics, and it is considered in the greatest detail - balance of the steelyard, vertical and horizontal balance, and so on. A complete index enables the reader to locate his own specific areas of interest. To see how a painting by Cezanne, Goya, or Hopper, for example, follows definite principles of composition allows the practicing artist or art student to learn composition from the finest instructors - the artists themselves. This book is also very useful to the art devotee, who will find his appreciation of the subject greatly enhanced

Item type: Book

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Holdings
Item type	Current library	Collection	Call number	Status	Barcode
Book	Marium Abdulla Library Non-Ref	Fine Arts	701.8 POO (Browse shelf(Opens below))	Available	18080

Previous editions published under title: Pictorial composition and the critical judgment of pictures.

Reprint of the edition published by Sterling Pub. Co., New York, previous editions of which had title: Pictorial composition and the critical judgment of pictures
Includes index

The importance of balance
Balance of the steelyard
Rules
Scale of attraction
Vertical and horizontal balance
The natural axis
Apparent or formal balance
Balance by opposition of line
Balance by opposition of spots
Transition of line
Balance by gradation
Balance of principality or isolation
Balance of cubical space
Entrance and exit
Getting into the picture
Getting out of the picture
Circular observation
Circular composition
Reconstruction for circular observation
Angular composition
The triangle
The vertical line in angular composition
Angular composition based on the horizontal
Line of beauty
Structural line
Composition with one or more units
Two units
Three units
Groups
The figure in landscape
Light and shade
Principality
Gradation

A painting's technique, color, and perspective may all be excellent, yet the painting will fail unless its composition succeeds. Composition is the harmonious arranging of the component parts of a work of art into a unified whole. Henry Poore examines the works of old masters and moderns in this book and uses these examples to explain the principles of compositions in art. All the paintings that the author analyzes are illustrated in the text - 166 illustrations, including 9 in full color. Thirty-two diagrams by the author accompany his textural discussion of such topics as the importance of balance, entrance and exit, circular observation, angular composition, composition with one or more units, and light and shade. Balance is the most important of these topics, and it is considered in the greatest detail - balance of the steelyard, vertical and horizontal balance, and so on. A complete index enables the reader to locate his own specific areas of interest. To see how a painting by Cezanne, Goya, or Hopper, for example, follows definite principles of composition allows the practicing artist or art student to learn composition from the finest instructors - the artists themselves. This book is also very useful to the art devotee, who will find his appreciation of the subject greatly enhanced

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Composition in art.