Composition - examples of note

[Mike McCarty]

With the following paintings I feel barely competent to remark on their size: This guy could get an awful lot done in a small space.

Each by Sir Lawrence Alma-Tadema:

1 The promise of Spring 15x9
2 Vain Courtship 30x16
3 Unconscious Rivals 18x25 w/detail

PS: Don't try this at home, this is the work of a highly trained professional - work big!

[Mike McCarty]

Gee Ma, I

[Mike McCarty]

Here's an article written in Paris regarding Philip Alexius de Laszlo. My notes don't show much more than the quote below, but my recollection is that it was written by a contemporary.

"But do not imagine that fame and success win themselves without effort! In the technique of the kind, the aristocratic or worldly portrait is not easy; quite the opposite, is it not the most difficult one to succeed, since under pains to generate a method, it is necessary for him to discover discreetly the individual character under the picturesque sumptuousness of pomp or the correct uniformity of the distinction? In a ceremonial setting, in an atmosphere of elegance and of courtesy, the angles round off, intimacy blurs or conceals; and, under the peel of varnish, the task becomes more difficult. With his first portraits of high dignitaries and of grandes dames, in the resemblance of a pope and a prime minister, de L

[Julie Deane]

This is one tired sitter - slumping in spite of that corset. Poor baby...
But certainly a well done and sensitive portrait - thanks for sharing it.

Oops - the subject is - composition? sorry for getting off topic. The artist uses those folds in the background rather nicely to keep an interesting shape in the middle of the painting and to not let that diagonal line of the body become too distracting.

[Mike McCarty]

Thanks for responding Julie.

Unfortunately you didn't make it within the 30 second time limit so the Lexus model LS 30 ought 6 will go back to the dealership.

Do you think that this: Jessie Chaffee 40x30 by Daniel Greene, is an improvement over the Alma-Tadema above?

[Julie Deane]

The're both nice. No. 1 has more detail to move the eye around (what ARE those things in the corners? animal skins?).

[Mike McCarty]

It's not really a fair question as to whether the D.G. rendition is an improvement. They both have their moments. As to what those hanging things in the background are ... I'm not sure. It may be completely apparent if viewed in person.

Speaking of Daniel Greene - I admire this composition very much: Wendy, 30x20.

[Ant Carlos]

To me Greene's rendition is not an improvement. Alma-Tadema's model may seem tired, but has a natural look, leading me to believe that her eyes are seeking for something by her own, finding some interesting object to look and pass the time while sitting and that makes the painting stronger. We can almost imagine what she is thinking of. Greene's one look like if the model was told to look at that specific direction, forcing her eyes beyond the natural movement. The result was a still pose, not natural at all.
To me...

Regards,

Ant

[Mike McCarty]

Hello Ant,

I think you make a reasonable observation. I would love to be burdened with the choice of which to hang over my sofa, assuming that they matched the fabric that is.

[Mike McCarty]

Below is an excerpt taken from a much larger text. It certainly goes to the subject of composition. I've had these same thoughts but have never been able to find a proper term, which the Viscount identifies as "arrested action."

It's one of those things that can be refuted by any number of beautiful examples, but still I think it's noteworthy.

********

JOURNAL OF THE ROYAL SOCIETY OF ARTS

TWENTY-THIRD ORDINARY MEETING
WEDNESDAY, 20TH MAY, 1936

Chairman: THE RIGHT HON. VISCOUNT ULLSWATER, P.C., G.C.B.,

One of the conditions which I think also necessary in a portrait is that there should not be arrested action. There should be repose. After all, the picture will probably be looked at for many years. Generations to come will look at it, and arrested action always leads the spectators to a sense of fidget and uncertainty as to when the action is going to be completed. A man who is just raising a glass to his lips, for example, is annoying, and fidgets. I begin to think, how long will it be before he drinks that cup of tea or glass of wine?

**********

These thoughts are cousin to the thinking that a person should not show a broad toothy grin. What are they amused by? What joke was told stage left which brings the sitter to this state of excitement? And on and on. These questions, having been brought to the viewers attention, could be considered a distraction from the essence of the individual being portrayed.

Once again, many examples could be brought to bear which refute this line of thinking, but it never hurts to have them in your note bag.