Potd3 Looking At Paintings

6
' ' How To Look at How To Look at Paintings’ Paintings’ --composition --composition

Transcript of Potd3 Looking At Paintings

Page 1: Potd3 Looking At Paintings

Painting of the Day #3Painting of the Day #3

''How To Look at How To Look at Paintings’Paintings’

--composition--composition

Page 2: Potd3 Looking At Paintings

Some compositions are just plain Some compositions are just plain unpleasant or jarring to look at. Landscape unpleasant or jarring to look at. Landscape paintings are almost always painted in a paintings are almost always painted in a horizontal format and sectioned into thirds. horizontal format and sectioned into thirds. Cutting the painting in half is jarring and just Cutting the painting in half is jarring and just plain looks like ass.plain looks like ass.

Page 3: Potd3 Looking At Paintings

Good artists plan a painting. They want to control how you look at the piece. When you’re looking at a work Good artists plan a painting. They want to control how you look at the piece. When you’re looking at a work of art, you should be forced to look at the main focal point or points first; then different aspects of the of art, you should be forced to look at the main focal point or points first; then different aspects of the

composition should move your eye around to the less and less important aspects of the work.composition should move your eye around to the less and less important aspects of the work.

In the first PoTD I talked about The Last Supper’s Composition. Jesus here is the focal point, supported by In the first PoTD I talked about The Last Supper’s Composition. Jesus here is the focal point, supported by his centralized position and all those wacky red lines pointing at him. You’re pretty much forced to look at his centralized position and all those wacky red lines pointing at him. You’re pretty much forced to look at that first. that first.

On his right, Mary Magdalene (sp?) leans back and creates a wedge...a break in the rectangle of centralized On his right, Mary Magdalene (sp?) leans back and creates a wedge...a break in the rectangle of centralized body parts, this draws your eye to the left side of the painting where Judas is stealing the tip money. This body parts, this draws your eye to the left side of the painting where Judas is stealing the tip money. This separation creates tension, which is a primary tool in visual art mind control.separation creates tension, which is a primary tool in visual art mind control.

Page 4: Potd3 Looking At Paintings

John Singleton John Singleton Copley (American)Copley (American)1778177872x90.2572x90.25Museum of Fine Museum of Fine Arts, BostonArts, Boston

oil on canvasoil on canvas

Winslow HomerWinslow Homer The Gulf Stream 1889The Gulf Stream 1889 Oil on CanvasOil on Canvas Metropolitan Museum of Metropolitan Museum of

Art, NYArt, NY 71.5x124.8cm71.5x124.8cm

Homers “The Gulf Stream” (below right) is Homers “The Gulf Stream” (below right) is an homage to Singleton-Copleys’ “Watson an homage to Singleton-Copleys’ “Watson and the Shark”(left) but they are very and the Shark”(left) but they are very different paintings, mostly because of the different paintings, mostly because of the placement of the shark. placement of the shark.

In Copley’s piece the shark extends past In Copley’s piece the shark extends past the edge of the picture plane suggesting a the edge of the picture plane suggesting a more dynamic movement, a faster more more dynamic movement, a faster more motivated shark who is totally hungry for motivated shark who is totally hungry for naked guys. Homers shark, however, is naked guys. Homers shark, however, is wholly inside the painting, this placement wholly inside the painting, this placement makes the shark look stagnant and makes the shark look stagnant and unmoving. This was done purposely and unmoving. This was done purposely and suggests that the shark is circling the boat suggests that the shark is circling the boat in wait. Note the thirds rule in this in wait. Note the thirds rule in this painting.painting.

Page 5: Potd3 Looking At Paintings

This is Davids (dah-veed) “The Coronation of Napoleon” It has a very complex This is Davids (dah-veed) “The Coronation of Napoleon” It has a very complex composition. Firstly the dynamic lines from shadows, a bowing Josephine and the composition. Firstly the dynamic lines from shadows, a bowing Josephine and the heads of the spectators lead you right to Napoleon’s face (green lines). The blue heads of the spectators lead you right to Napoleon’s face (green lines). The blue circle emphasizes the focal point, as illustrated w/ the contrast of light...the light circle emphasizes the focal point, as illustrated w/ the contrast of light...the light source is directly on Josephine, the Pope and Napoleon, just about everyone else is source is directly on Josephine, the Pope and Napoleon, just about everyone else is in shadows. in shadows.

Page 6: Potd3 Looking At Paintings

I love this damn painting. John Singer I love this damn painting. John Singer Sargent is the MAN. This was a painting Sargent is the MAN. This was a painting

commission by some rich guy of his commission by some rich guy of his daughters. Some artists feel that you daughters. Some artists feel that you

shouldn’t get to know your portrait shouldn’t get to know your portrait subjects b/c it influences the work and subjects b/c it influences the work and gives it an editorial aspect. Now when gives it an editorial aspect. Now when you have a painting of 4 daughters you you have a painting of 4 daughters you don’t want to put the emphasis on one don’t want to put the emphasis on one more than the others. Sargent gets to more than the others. Sargent gets to

know the girls and makes a really know the girls and makes a really fantastic and strange composition. At first fantastic and strange composition. At first

glance you look at the little girl on the glance you look at the little girl on the floor, she’s in the foreground and pretty floor, she’s in the foreground and pretty

centralized. The edge of the carpet then centralized. The edge of the carpet then leads your eye up to the girl on the left, leads your eye up to the girl on the left, standing there very oddly. Although the standing there very oddly. Although the older girls are in the darkness. They are older girls are in the darkness. They are centralized and grab your attention next, centralized and grab your attention next, the first one b/c she’s looking at you, the the first one b/c she’s looking at you, the second b/c she’s oddly the only one that second b/c she’s oddly the only one that

isn’t facing the viewer. She hated isn’t facing the viewer. She hated Sargent and was uncooperative the entire Sargent and was uncooperative the entire time. All of these elements distribute the time. All of these elements distribute the attention to the girls pretty evenly and the attention to the girls pretty evenly and the

space is closed off on the right side by space is closed off on the right side by the vase.the vase.

John Singer SargentJohn Singer Sargent DaughtersDaughters of Edward Darley Boit of Edward Darley Boit Oil on Canvas 1882Oil on Canvas 1882 Museum of Fine Arts, Boston, MAMuseum of Fine Arts, Boston, MA