Composition - examples of note

[Julie Deane]

I think he put that bird deliberately there so it was not so obvious a silouette. If you squint, the bird shape breaks up the line of the shoulder, and attention is drawn there because of the contrast and the disruption. There is a little bit of the light blouse behind the bird, keeping it from blending into the background. Just my opinion (*see below)

In Atlanta, we are privileged to have this work of DeCamp's at the High Museum. It has puzzled me in person, because of the placement of the figure with so much space above the head. *I'm still compositionally illiterate, I guess.

[Mike McCarty]

Julie,

Regarding the Blue Bird image, it's probably best judged in person on a matter such as this, the bird may shine more brightly than is perceived in these reproductions. It still bothers me a bit. Notice how he didn't mind sharply contrasting the head of the Cello below.

About the Lady in the Mandarin Coat, I'm not bothered by the generous room above her head. I've jiggered with it a bit below removing approx. half of the head room. Now we can compare the one above to what I imagine your concern to be.

I believe his reasoning has to do with the space created to the left and right of the head when the arms are pushed out to the side. That space, left and right, is then matched above the head as you go around from left up to top, then down right to the other sleeve.

Per usual, I'm practicing without a license.

And then another: The Cellist 28x23, 1908

[John Reidy]

In my humble opinion the below pretty much describes Mike's comments on the placement of the subject in the painting. The "X" shows a central composition to me equalizing the sides and top.

Just an opinion.

[Mike McCarty]

John,

I think that pretty well illustrates what I was trying to say.

These are the paintings of Austrian academic classical artist, Hans Markart, 1840-1884.

I think these are interesting compositions, and this guy seemed to have a real flare for execution, which is demonstrated well in the crop of the first image. It appears that these first two images were painted when the artist was in his early thirties. I was still trying to master my times tables at that age.

1- Ms. Clothilde Beer 32x27 1874
2- crop of same
3- Karoline Gomperz 53x37 1870
4- Lady with red plumed hat 59x39

[Mike McCarty]

This is the Spaniard, Jose Gallegos y Arnosa, 1859-1917.

This is a little gem, I think. All this is such a small package.

El Rosario - Oil on panel, 7x11 1902

[Michele Rushworth]

7x11 !!!!?

[Mike McCarty]

Actually, it's listed as: 7 x 10 7/8 inches (17.8 x 27.9 cm)

I usually just round them off but maybe I shouldn't in this case.

Shakespeare's sonnet
XXIV.

Mine eye hath play'd the painter and hath stell'd
Thy beauty's form in table of my heart;
My body is the frame wherein 'tis held,
And perspective it is best painter's art.
For through the painter must you see his skill,
To find where your true image pictur'd lies,
Which in my bosom's shop is hanging still,
That hath his windows glazed with thine eyes.
Now see what good turns eyes for eyes have
done:
Mine eyes have drawn thy shape, and thine for
me
Are windows to my breast, where-through the
sun
Delights to peep, to gaze therein on thee;
Yet eyes this cunning want to grace their art,
They draw but what they see, know not the
heart.

[Jeanine Jackson]

Stunning, Mike! The second detail highlights the genius of this overall composition. One has to wonder how he captured this. My guess is that it was at least begun discretely right there in church which would explain the tiny size.

Thank you also for the sonnet. It added another dimension and sweetness to my morning.