Composition decision

[SB Wang]

Yes, Seek-sick-(finally) KISS...
http://en.wikipedia.org/wiki/Image:Cassatt_the_bath.jpg

[Steven Sweeney]

Which is why it became easy to dispense with the lamp, but then less easy to stick with the orchids, and even more problematic to explain the "table" -- which of course isn't table height, and is otherwise an object difficult to explain in this conception.

What I finally had to do in my own compositions is go to a sort of VGR test -- what is the Very Good Reason that I've included an object in my Composition? The question has to be asked and has to be answered in terms of composition, which in turn has to play into theme. There could be a hole in the composition and you could fill it with a railroad clock, but that has to have something to do with the focal subject(s), or else it's just a prop, which was the lesson Daniel Greene was teaching me.

Amanda, you've at least twice expressed a desire to include the lamp, so I've tried to figure out how you can do that. But there remain myriad alternatives. The figures could be moved up, with a small round presentation table bearing the orchids somewhere in the lower part of the piece, taking the point of a triangle with the other two being the heads of the subjects. And so on. All my observations are in the nature of "think about this," rather than "do this."

Mother-Child is your painting. Everything else should be subordinate to that theme.

By the way, I cleaned and dressed the wound, which is why I'm still typing. Plus -- I think the potential for this piece is enormous, and I'm very impressed with your engagement in the feedback.

[Amanda Grosjean]

I had no idea sailing was such a violent sport. Glad to hear all of your digits are still intact.

I can't help but think back to the second grade when the teachers began to drill me with the question," Why is your head floating, where is the background?"
I think that that piece of advice has stuck with me. Of course, as you grow as an artist, you learn that it can work with the right technique.
I wouldn't say that the items were randomly placed but the quick move to soothe her child (I had touched her barney that was sitting next to me, apparently, a big no-no) initiated such a lovely pose that the elements in the background changed as I scrambled to move my camera. But the principles of keeping that diagonal composition with the counterbalance of the lamp was intentional, if perhaps it wasn't the best items to use. I suppose they are a little strange considering the height of the table but artists often use things that frankly, make no sense. Why would there be big swooping drapes behind a figure, ever? Anyway, how often would you really see two 3/4 length figures seated with nothing behind them? I tried taking it out through Photoshop and it just looked unnatural to me. And if that second grade teacher had a problem with floating heads, floating bodies was an even bigger crime. I do appreciate the idea of keeping it simple.

Well, I think I am going to stop talking about it and just paint it. I have an extra large pre-made canvas that I am going to work on so I can crop it to whatever way I please in the end. Perhaps the problems will work themselves out once I am working with it.

Thanks for all the comments everyone, they were much appreciated.

[Steven Sweeney]

Originally Posted by Amanda Grosjean

Why would there be big swooping drapes behind a figure, ever?

That's one of the things Daniel Greene said he didn't like. My only excuse was that I, younger then, had draped the cloth in that way, in part because I'd seen others do it, and in part simply to see if I could paint drapery. It happened to be a still life in which I'd also included a plaster cast, a violin (my grandfather's), a pocket watch (the other grandfather's), some grapes, a couple of books, a copper pitcher -- I threw in every type of object, just to see if I could paint those different materials. As it turns out, I could, but it wasn't much of a painting. More of an etude in oils. But Greene disliked only the staginess or "prop" look of the draped cloth in the background. (I'm sure that drapery effects where they belonged -- in clothing, say, or the corner of a tablecloth -- were not objectionable.)

[Christy Talbott]

I'm no expert on composition, but my knee jerk reaction is the same as Marvin's. I feel the background isn't working well. It is distracting me from the mother and daughter. I've seen your work and it's very beautiful, so I've no doubt you'll work it all out!!

[Steven Sweeney]

Originally Posted by Amanda Grosjean

I had no idea sailing was such a violent sport.

Not sailing, per se, but pirates. Armed with X-acto blades.

[Amanda Grosjean]

Thanks Christy!