Carol,
At least you've figured out whats important. It's a difficult subject to tackle, because just when you think you've got a handle on a set rules someone comes along and breaks them with a resounding success. Maybe we could get something started here and between the bunch of us learn something new. I started this not to tell what I know (which was built on a solid foundation of ignorance) but to shake loose what others may teach me. It's a difficult and important subject.
Claudemir,
Thanks for those examples. It seems to me that when you bring many other elements (shapes) into the scene it then looses the element of being a two person composition. Each person being just one more shape within the overall composition. It's when things tighten up that it gets more challenging.
Allan,
I had the same feeling about our left side of the painting needing to be wider, but then I look at the position of the heads and bodies in relation to the canvas and I begin to wonder. I thought that the bowl was the weakest part of the composition, then I thought that maybe he thought he had to include it to complete the narrative of the bubbles. I just don't know. I never had any negative feelings regarding the boys dark shirt.
Those are some interesting brush strokes in that self portrait.
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Sorry, but the original Laszlo image creeps me out.
An off-the-shoulder, below the breast presentation of a 10-year-old, next to her brother or friend, is extremely creepy. Nothing artistic about it. Composition doesn't offer any salvation.
Next slide, please.
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Steven,
I never considered the inappropriateness of it. Who knows what was on this guys mind a hundred years ago. I can see where it would probably push some buttons in some circles.
Carlos,
Thank you for those excellent points. How much of the success of your painting example do you contribute to the negative space?
Molly,
Thanks for that info. I have a photo of my father at about one or two in a dress. He is holding an apple with a big bite out of it.
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