Rules of composition in Western painting

The rules of composition in Western painting are a whole of techniques which vary according to the painter S, the styles, the movements and the times and which can be mixed as much.

Art of the diagonals

Rule known as of the carries of harmony (by Paul Sérusier, 1921):

The diagonal B of a square, deferred on the basis of square, makes it possible to obtain a rectangle of with dimensions is and length B. The sheets of paper grape are (almost) of this dimension as well as the frame of painting P (of landscape) of the trade (at least theoretically, because the passage to the metric system somewhat scrambled the system).
The vertical side of the square absorptive by the format is described as line of force.
The precursory painter of the Impressionism, Turner, used this type of composition.

Rule of the Golden section

By tracing a square then by folding back the ray obtained of the medium on a side of a corner on the same side, one obtains a rectangle of which the proportions are such as the small rectangle increasing the initial square also comprises, between his sides, the same proportion known as golden section. The frames of paintings of format M (marine) theoretically check this proportion and those of format F are theoretically done of two M, but the passage of old measurements to the metric system scrambled this system.

According to a theory spread by Matila Ghyka but denounced by Marguerite Nephews as being a construction afterwards (in the Golden section - Radiography of a myth ), the painters of the Rebirth, traditional time, School of Puteaux at the XXe century, the analytical Cubism, etc would have used this " formule" of composition to divide their table in two unequal halves. Its mythological legend and symbolic system also come owing to the fact that an irrational is drawn which gains a decimal with each enlarging of the drawing, which fascinated the mathematicians as much as pi.

tension fields

In fact the elements, although nonvisible, underlie the Dessin: for example with dimensions absent from the square in the rectangle P, M or F, or diagonals of the square or the rectangle.

Not force

The intersections between the various tension fields are named " points of force" or " centres".

Center

It is the center of interest where converge the tension fields. It is recommended that it is not in the geometrical center of the table.

Composition known as of " Charles VII"

On a format F (figure) to trace the vertical parallel at the small side dividing the format in two. To trace a horizontal parallel with the length so as to obtain two joined squares. This horizontal is systematically the horizon at the Impressionnistes. Traditional technique of the Academy and the Beautiful arts at the XIXe century.

Centered Academic composition

To divide the format into four equal parts then to trace the large diagonals of the format and the small diagonals of the 4 rectangles obtained so as to obtain a rhombus. The unit gives a centered composition where all the elements are also distributed. Technique used by David, Large or Billhook.

Ellipse

By bringing back to the compass the length of the rectangle on the height of this one, and by repeating the operation one describes an ellipse known as of Fibonnacci. These ellipses were used to trace the ceilings and great decorative painting, as at the Vénitiens, Tiepolo or Contemporary art by Mario Merz.

Regulate thirds

This well-known rule of the photographers (silver) (see photographic Composition) is the debased form of the rule of the Door of Harmony, indeed the window of the camera is of proportion 1/3 (1,333) and the format P of proportion 1,414141414…

Outline

The whole of the processes of perspective is means of composition of the image. There exist many types of prospects:

See also: Perspective (representation), Perspective

Perspective of the Landscape designer S or atmospheric Prospect:
Par the degradation of the value of darkest in the foreground towards most clearly in the last plan, one obtains a prospect in values.
Stressing of the aforesaid the prospect by the colors:
Par the coherent placement of the hot colors in the foreground and coldest at the horizon one obtains the stressing and the atmospheric feeling.
Les hot colors is definite like projecting , cold like the reducing ones .

Rules of the three plans

It is advisable to draw the table in three successive plans by taking care to put the subject on the second level. This principle was very largely used at the XVIIIe century (Watteau Turner Constable) or by the Impressionnistes.

In the foreground one places the blacks and the white; in the second plan ochers, yellows, greens; in the third plan the blue ones, the purple ones.

Regulating layout

The drawing of the tension fields and the diagonals… constitute the regulating layout. It can be preexistent in table (Piero della Francesca, Seurat…) or a posteriori as average of analysis (analytical Cubism…)

Direction of the light

In the academic Peinture the directional Lumière must come from in top on the left. The shade pincipale being located in bottom on the right. Courbet broke this tradition after the appearance of photography.

Color

Divisionnism of the color

Together effects obtained by division of the color and the key such as defined the chemist Eugene Chevreul, the physicists Von Bezold and Rood and to which the impressionists subjected themselves. (cf letters of Camille Pissarro)

Stopped color

Color of the shade or the light which is not correctly evaluated in the illustrated space of the table. In general it is saturated too much.

Regulate Value

Essential rule of the School of Paris (of 1910 to 1960) where the color is privileged in its gradation towards the black rather than in its degradation towards the white.

Degree of Saturation - Push and Sweater

Essential rule of the teaching of Hans Hoffmann where the color is considered in its gradation towards its Saturation known as of Push and Pull which can be defined as the Rule of Contrate d' Intensité. to see School of New York

to see All over

to see Colorfield Painting

Regulate simultaneous contrast

The Loi of the simultaneous contrast of the colors was defined by Eugene Chevreul.
It was used by the painters Impressionnistes, the Cubistes, Delaunay, Duchamp, Andy Warhol, the artists of the Pop Art etc…

Interaction of the colors

The interaction of the colors by Joseph Albers is an attempt at synthesis of the whole of its Théories on the color.

Refusal of the rules of composition

A certain number of artists refuse the academic rules described above in the name of creative freedom or of their belief. In particular at the Surrealist , in the name of the instinct for the Na5ive art or in the name of the refusal of the Culture the Rough Art. Holding of the rules " géométriques" the seconds of " qualify then; littérateurs" , seconds qualifying the first of " géomètres" !

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