Chapter 3

APPENDIX

ILLUSTRATIONS

Light and Shade--Geo. Inness Fundamental Forms of Construction Why Art Without Composition is Crippled: The Madonna of the Veil--Raphael; The Last Judgement--Michael Angelo; Birth of the Virgin Mary--Durer; The Annunciation--Botticelli; In Central Park; The Inn--Teniers Three Ideas in Pictorial Balance Pines in Winter (Unbalance); The Connoisseurs--Fortuny (Balance of the Steelyards) Portrait of Sara Bernhardt--Clairin (Balance Across the Natrual Axis) Lady with Muff--Photo A. Hewitt (Steelyard in Perspective) Lion in the Desert--Gerome (Balance of Isolated Measures); Salute to the Wounded--Detaille (Balance of Equal Measures) Indian and Horse--Photo A.C. Bode (Oppposition of Light and Dark Measures); The Cabaret--L. L’hermitte (Opposition Plus Transition) Along the Shore--Photo by George Butler (Transitional line); Pathless--Photo by A. Horsely Hinton (Transitional Line) Hillside (Graded Light Upon Surfaces; Cloud Shadows); River Fog (Light Graded by Atmospheric Density); The Chant (Gradation through Values of Separated Objects) The View-Metre Three Pictures Found with the View-Metre View Taken with a Wide Angle Lens Photography Nearing the Pictorial The Path of the Surf--Photo (Triangles Occuring in the leading line); The Shepherdess--Millet (Composition Exhibiting a Double Exit) Circular Observation--The Principle; The Slaying of the Unpropitious Messengers (Triangular Composition--Circular Observation) Huntsman and Hounds (Triangle with Circular Attraction); Portrait of Van der Geest--Van Dyck (A sphere within a Circle) Marriage of Bacchus and Ariadne--Tintoretto (Circle and Radius); Endymion--Watts (The Circle--Vertical Plane) The Fight Over the Body of Patroclus--Weirls; 1807--Meissonier; Ville d’Avray--Corot; The Circle in Perspective The Hermit--Gerard Dow (Rectangle in Circle); The Forge of Vulcan--Boucher (Circular Observation by Suppression of Sides and Corners) Orpheus and Eurydice--Corot (Figures outside the natural line of the picture’s composition); The Holy Family--Andrea del Sarto (The circle overbalanced) The Herder--Jaque Alone--Jacques Israels (Constructive Synthesis upon the Vertical); The Dance--Carpeaux (The Cross Within the Circle) Sketches from Landscapes by Henry Ranger; Parity of Horizonatals and Verticals; Crossings of Horizontals by Spot Diversion Sketch from the Book of Truth--Claude Lorrain (Rectangle Unbalanced); The Beautiful Gate--Raphael (Verticals Destroying Pictorial Unity) Mother and Child--Orchardson (Horizontals opposed or Covered); Stream in Winter--W. E. Schofield (Verticals and Horizontals vs. Diagonal) Hogarth’s Line of Beauty Aesthetics of Line; The Altar; Roman Invasion--F. Lamayer (Vertical line in action; dignified, measured, ponderous); The Flock--P. Moran (The horizontal, typifying quietude, repose, calm, solemnity); The curved line: variety, movement; Man with Stone--V. Spitzer (Transitional Line, Cohesion); The Dance--Rubens (The ellipse: line of continuity and unity); Swallows--From the Strand (The diagonal: line of action; speed) Aesthetics of Line, Continued, Where Line is the motive and Decoration is the Impulse; Winter Landscape--After Photograph (Line of grace, variety, facile sequence); Line Versus Space (The same impulse with angular energy, The line more attractive than the plane); Reconciliation--Glackens (Composition governed by the decorative exterior line); December--After Photograph (Radial lines with strong focalization) Unity and its Lack; The Lovers--Gussow; The Poulterers--Wallander Return of Royal Hunting Party--Isabey; The Night Watch--Rembrandt Departure for the Chase--Cuyp (Background Compromising Original Structure); Repose of the Reapers--L. L’hermite (The Curvilinear Line) The Decorative and Pictorial Group; Allegory of Spring--Botticelli (Separated concepts expressing separate ideas); Dutch Fisher Folk--F. V. S. (Separated concepts of one idea); The Cossack’s Reply--Repin (Unity through a cumulative idea) Fundamental Forms of Chiaroscuro; Whistler’s Portrait of his Mother; Moorland--E. Yon; Charcoal Study--Millet; The Arbor--Ferrier Fundamental Forms of Chiaroscuro, Continued; Landscape--Geo. Inness; The Kitchen--Whistler; St. Angela--Robt. Reid; An Annam Tiger--Surrand; The Shrine--Orchardson; Monastic Life--F. V. DuMond A Reversible Effect of Light and Shade (The Same Subject Vertically and Horizontally Presented) Spots and Masses; Note-book sketches from Rubens, Velasquez, Claude Lorrain and Murillo Death of Caesar--Gerome; The Travel of the Soul--After Howard Pyle Bishop Potter Decorative Evolving the Pictorial; The North River--Prendergast; An Intrusion--Bull; Landscape Arrangement--Guerin Stable Interior--A. Mauve (A simple picture containing all the principles of composition); Her Last Moorings--From a Photograph Alice--W.M. Chase (Verticals Diverted); Lady Archibald Campbell--Whistler (Verticals Obliterated); The Crucifixion--Amie Morot (Verticals Opposed)