tag:blogger.com,1999:blog-2999230124118604245.post8889305257953097728..comments2024-03-28T16:36:12.581-04:00Comments on Gurney Journey: GJ Book Club— Speed Chapter 12— Rhythm: Unity of LineJames Gurneyhttp://www.blogger.com/profile/01870848001990898499noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-2999230124118604245.post-38723784626021945482015-06-21T19:02:11.678-04:002015-06-21T19:02:11.678-04:00Thanks for breaking-up this chapter, James. There ...Thanks for breaking-up this chapter, James. There is a lot to cover in this tome-of-a-chapter. I’m not very impressed by Blake’s ‘Job’ paintings, but I guess they make his points. Your substitution of the color versions of the Titian, and the Velazquez, etc., is quite helpful too. <br />I’m a little unclear about Glen’s reference to ‘repeating of reciprocal angles,’ (perhaps he could post a link to an example or two). In Giorgioni's ‘Fête Champêtre’, Speed points out the straight line created by the central figure’s bent legs and her flute, and I can't help but notice the leg of the lute player creates two rather jarring 90* (degree) angles. <br /><br />Point 8. A rather obvious and blatant example of this is found in Mondrian’s compositions (low hanging fruit, I know): <br /><br />https://sp.yimg.com/ib/th?id=JN.0s0N0dujWIKpAzVfBRCo9w&pid=15.1&P=0 <br /><br />and from the other end of the continuum, here’s another blatant example (Mickey B’s Ceiling):<br /><br />http://everydaydreamholiday.com/wp-content/uploads/2012/12/sistine-chapel-ceiling_rome_vatican_city.jpg<br /><br />One of the really fun aspects of designing murals is the ability to incorporate architectural elements (doors, windows, crown moldings, etc.) into the composition in order to take advantage of these principles, or to create such elements in trompe l’oeil, (as Buonoroto has done in the above example.) <br /><br />Point 3) It can also be quite challenging and fun to take into consideration the sometimes irregular or oddly shaped surfaces found in the architecture (such as spandrels, niches, lunettes, and pendentives).<br /><br />Moving along to the ‘middle ground’, here is an example of point 8 from Andrew Wyeth:<br /><br />http://flann4.files.wordpress.com/2008/06/zhaokailin1.jpg<br /><br />oh, and one from this guy:<br /><br />http://2.bp.blogspot.com/-5m3Tbz3qZcs/VXgWP1U4yqI/AAAAAAAAbco/3SC8XFgIbF0/s1600/11400986_10206991312885496_5028303466932239070_n.jpg<br /><br />I had been contemplating Susan Sorger’s query about your composition, and it’s interesting to try and figure out why some comps work in one situation, and not in another. I like to play around and push the limits of my compositions, and I have found that, (in addition to producing some questionable paintings) one can be very aggressive in ‘breaking’ compositional ‘rules’ if the offense is counter-balanced by an other stronger principle, or two. The vertical and horizontal lines not only overcome the ‘dissonance’ of the central beam cutting through the painting, (and the value of the beam being quite close to the value of the sky also helps) but the ‘window’ they create frames the shaded area w the yellow shirt and the bright trees in the background, echoing, or playing against, the open space on the right. Most of the time these things are quite intuitive, and I am sure you didn’t set out to intentionally do this, but what fun it is to explore perception! Very nice job, Jimi Gi -RQ<br />Anonymoushttps://www.blogger.com/profile/02540150780230629982noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-17990797058775638512015-06-20T13:49:31.160-04:002015-06-20T13:49:31.160-04:00An interesting aspect of unity of line in rhythm, ...An interesting aspect of unity of line in rhythm, that I have not seen written about, is the repeating of reciprocal angles throughout the design of a painting.<br /><br />I was preparing some compositional workshops a few years ago and started noticing this in a number of paintings by artists like Jean-Léon Gérôme and Velázquez. I have seen this in more contempoary artists like Stapelton Kearns. <br /><br />Whether conscious or unconscious it is fascinating.<br /><br />Have you seen or read anything regarding this?Glenn Taithttps://www.blogger.com/profile/06694558143243106035noreply@blogger.com