Fundamentals of Composition
There is an opinion amongst artists, that it is impossible to write a textbook on composition, and one can not but agree with this. To design is to be creative. Creativity cannot be confined within the boundaries of some rules. If we look into the history of visual art, we can see that styles and movements replaced each other, rejecting the canons established by their predecessors. The art of Neoclassicism rejected the rules established by the Baroque style. In turn, the social changes created new challenges for the art, and led to the rejection of the principles of Neoclassicism, and so on.Nevertheless, since the moment visual art was born and to the present day, despite the changes in styles, tastes and creative preferences, artists used the same elements of design. We shall try to examine these elements in this book.With the works by the outstanding artists as examples, we shall see how an artwork is conceived as a sketch, and we shall follow the process of creating some remarkable works of Russian art.
Book 3
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18 fundamentals of compositionHierarchy of the details. UnityIn a composition, the main detail always tends to gravitate towards the visual center of the painting. Secondary details are located closer to the periphery.It does not matter what it is: a multi-figure composition, a portrait, a landscape, a still-life, whether it is a painting or a drawing. Details visually divide an image into sections. A detail can be an object, a still-life, a part of a person’s figure or a group of figures. A composition is “built” from the details. Details in the composition have a hierarchy which is created with contrasts and a variety in levels of completion. In any classical painting, we can find the most important detail, the second most important, the third and so on. In Rembrandt’s painting The Holy Family (1, 2), the main detail is the head of the Mother, a part of her torso and the book she is holding (1). This is the center of interest of the painting. The detail number two is a sleeping baby in the cradle (2). The third detail is the angel descending from the sky (3). The fourth is Joseph the Carpenter working in the background (4). The least significant detail is the fire in the hearth and the objects next to it (5). In this painting we see how the artist, with the help of contrasts, identified the main details and, by gradually softening and paying less attention to the development of minor details, subordinated them to the major ones. Subordination creates a sense of unity and completion.The second painting we will review here is Ilya Repin’s diploma work Raising of Jairus’ Daughter (3, 4). The main details are, of course, the head of Jesus and the hand that supports the folds of the clothing (1). The next detail is the head of the girl, her hands and the light creases of the draperies (2). The third is a lamp at the head of the bed (3). Then – the figure of Jairus, the head of John (4), and a weep-ing mother (5). In the foreground is a still life, accurate in color...
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