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.Emerson says, "Although you search the whole world for the beautiful you'll not find it unless you take it with you," andthis is true to a greater extent of rhythmic tone arrangements.Turner: "Ulysses deriding Polyphemus."Turner was very fond of these gradated tone compositions, and carried them to a lyrical height to which they had never beforeattained.His "Ulysses deriding Polyphemus," in the National Gallery of British Art, is a splendid example of his use of thisprinciple.A great unity of expression is given by bringing the greatest dark and light together in sharp contrast, as is done in thispicture by the dark rocks and ships' prows coming against the rising sun.From this point the dark and light masses gradate indifferent directions until they merge above the ships' sails.These sails cut sharply into the dark mass as the rocks and ship on theextreme right cut sharply into the light mass.Note also the edges where they are accented and come sharply against theneighbouring mass, and where they are lost, and the pleasing quality this play of edges gives.Stability is given by the line of the horizon and waves in front, and the masts of the ships, the oars, and, in the original picture, afeeling of radiating lines from the rising sun.Without these steadying influences these compositions of gradated masses would besickly and weak.Corot: 2470 Collection Chauchard, Louvre.216This is a typical example of Corot's tone scheme, and little need be added to the description already given.Infinite play is got withthe simplest means.A dark silhouetted mass is seen against a light sky, the perfect balance of the shapes and the infinite play oflost-and-foundness in the edges giving to this simple structure a richness and beauty effect that is very satisfying.Note how Corot,like Turner, brings his greatest light and dark together in sharp contrast where the rock on the right cuts the sky.Diagram XXVI.TYPICAL EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHM, AFTER THE PICTURE IN THE LOUVRE, PARISStability is given by the vertical feeling in the central group of trees and the suggestion of horizontal distance behind the figure.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (101 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.It is not only in the larger disposition of the masses in a composition that this principle of gradated masses and lost and foundedges can be used.Wherever grace and charm are your motive they should be looked for in the working out of the smallest details.217In concluding this chapter I must again insist that knowledge of these matters will not make you compose a good picture.Acomposition may be perfect as far as any rules or principles of composition go, and yet be of no account whatever.The life-givingquality in art always defies analysis and refuses to be tabulated in any formula.This vital quality in drawing and composition mustcome from the individual artist himself, and nobody can help him much here.He must ever be on the look out for those visions hisimagination stirs within him, and endeavour, however haltingly at first, to give them some sincere expression.Try always whenyour mind is filled with some pictorial idea to get something put down, a mere fumbled expression possibly, but it may contain thegerm.Later on the same idea may occur to you again, only it will be less vague this time, and a process of development will havetaken place.It may be years before it takes sufficiently definite shape to justify a picture; the process of germination in the mind isa slow one.But try and acquire the habit of making some record of what pictorial ideas pass in the mind, and don't wait until youcan draw and paint well to begin.Qualities of drawing and painting don't matter a bit here, it is the sensation, the feeling for thepicture, that is everything.218If knowledge of the rhythmic properties of lines and masses will not enable you to compose a fine picture, you may well ask whatis their use? There may be those to whom they are of no use.Their artistic instincts are sufficiently strong to need no direction [ Pobierz całość w formacie PDF ]
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.Emerson says, "Although you search the whole world for the beautiful you'll not find it unless you take it with you," andthis is true to a greater extent of rhythmic tone arrangements.Turner: "Ulysses deriding Polyphemus."Turner was very fond of these gradated tone compositions, and carried them to a lyrical height to which they had never beforeattained.His "Ulysses deriding Polyphemus," in the National Gallery of British Art, is a splendid example of his use of thisprinciple.A great unity of expression is given by bringing the greatest dark and light together in sharp contrast, as is done in thispicture by the dark rocks and ships' prows coming against the rising sun.From this point the dark and light masses gradate indifferent directions until they merge above the ships' sails.These sails cut sharply into the dark mass as the rocks and ship on theextreme right cut sharply into the light mass.Note also the edges where they are accented and come sharply against theneighbouring mass, and where they are lost, and the pleasing quality this play of edges gives.Stability is given by the line of the horizon and waves in front, and the masts of the ships, the oars, and, in the original picture, afeeling of radiating lines from the rising sun.Without these steadying influences these compositions of gradated masses would besickly and weak.Corot: 2470 Collection Chauchard, Louvre.216This is a typical example of Corot's tone scheme, and little need be added to the description already given.Infinite play is got withthe simplest means.A dark silhouetted mass is seen against a light sky, the perfect balance of the shapes and the infinite play oflost-and-foundness in the edges giving to this simple structure a richness and beauty effect that is very satisfying.Note how Corot,like Turner, brings his greatest light and dark together in sharp contrast where the rock on the right cuts the sky.Diagram XXVI.TYPICAL EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHM, AFTER THE PICTURE IN THE LOUVRE, PARISStability is given by the vertical feeling in the central group of trees and the suggestion of horizontal distance behind the figure.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (101 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.It is not only in the larger disposition of the masses in a composition that this principle of gradated masses and lost and foundedges can be used.Wherever grace and charm are your motive they should be looked for in the working out of the smallest details.217In concluding this chapter I must again insist that knowledge of these matters will not make you compose a good picture.Acomposition may be perfect as far as any rules or principles of composition go, and yet be of no account whatever.The life-givingquality in art always defies analysis and refuses to be tabulated in any formula.This vital quality in drawing and composition mustcome from the individual artist himself, and nobody can help him much here.He must ever be on the look out for those visions hisimagination stirs within him, and endeavour, however haltingly at first, to give them some sincere expression.Try always whenyour mind is filled with some pictorial idea to get something put down, a mere fumbled expression possibly, but it may contain thegerm.Later on the same idea may occur to you again, only it will be less vague this time, and a process of development will havetaken place.It may be years before it takes sufficiently definite shape to justify a picture; the process of germination in the mind isa slow one.But try and acquire the habit of making some record of what pictorial ideas pass in the mind, and don't wait until youcan draw and paint well to begin.Qualities of drawing and painting don't matter a bit here, it is the sensation, the feeling for thepicture, that is everything.218If knowledge of the rhythmic properties of lines and masses will not enable you to compose a fine picture, you may well ask whatis their use? There may be those to whom they are of no use.Their artistic instincts are sufficiently strong to need no direction [ Pobierz całość w formacie PDF ]