Pomm has been a successful exhibiting artist for 40 years. She knows the
ins and outs of the business and has a passion to keep art and artists
thriving and continuing to bring aesthetics into the world. Today Pomm
continues her series of articles revealing her research into what makes
a true master artsit, delving further into last month's subject: Composition.
As you may remember, there are four elements that make a true master.
This month we have been concentrating on compositions. This is a very key
element to making a piece of art from just a piece of art to enhancing
the aesthetics to the quality of our true masters.
"The term 'composition' denotes the
overall arrangement of a work of art. In order to describe the composition of a painting (for
instance), one must identify the
parts the painting is composed of (e.g. figures, buildings, natural features),
and then describe how those parts are
arranged." (Essential Humanities)
Below is some further information that delineates what these true masters
use. This will help spot the masters today, as they have brought back
this level of aesthetics.
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Visual Composition
Introduction
The term "composition" denotes the
overall arrangement of a work of art. In order to describe the composition of a painting (for
instance), one must identify the
parts the painting is composed of (e.g. figures, buildings, natural features),
and then describe how those parts are
arranged.
Pyramidal vs. Dynamic Composition
Two of the most prominent approaches to visual composition are the
pyramidal composition of High Renaissance painting and the
dynamic composition of Baroque painting (see
Western Aesthetics). Pyramidal composition focuses strongly on
unity, while dynamic composition is primarily concerned with
contrast.

Pyramidal Composition
Credit: Essential Humanities
The figures in Leonardo's
Virgin of the Rocks are arranged such that the "pinnacle" of the painting (Mary's
head) is flanked by figures to either side and to the fore. The arrangement
of these figures is characterized by symmetry and balance. A sense of
stability is achieved, and the eye is naturally drawn to a single point
(Mary's face). In terms of colour, the patches of bluish sky in the
upper part of the painting are balanced with the bluish robes in the lower
part; other colours are likewise balanced.

Baroque Composition
Credit: Essential Humanities
Ruben's
Raising of the Cross, on the other hand, features diagonal configurations of figures. The overall
arrangement is characterized by asymmetry and imbalance. A strong sense
of dynamism (a sense that the painting is "in motion") results
as the eye is drawn restlessly along each line. Note also the unbalanced
use of colour; for instance, while the left and centre panel feature a
dark background, the right panel is set against a light sky.
Unity vs. Contrast
A sense of
unity can be achieved through
repetition of parts, as well as
balanced arrangement of parts. Likewise, a sense of contrast can be achieved by using sharply
different parts, and by arranging those parts in an
unbalanced manner.
Arguably, all great art must strike a
balance between unity and contrast. Unity is like an
engine (stable and carefully structured), while contrast is like the
burning fuel inside the engine (active and uncontrolled). An engine without fuel won't
run; likewise, a work of art with "excessive unity" is
mechanical and dull. Conversely, fuel without an engine will simply burn out of control; likewise,
a work of art with "excessive contrast" is
messy and directionless.
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Here are some examples of other artists using composition:
Dancers at the Opera by Edgar Degas, http://www.adammarelliphoto.com
Pedestal by Christina Troufa, http://artsyforager.com

Nikau Hindin, https://www.studentartguide.com
ML,
Pomm
Visual Composition. (2018).
Essential Humanities. Retrieved from http://www.essential-humanities.net/art-supplementary/visual-composition/