Composition - examples of note

[Enzie Shahmiri]

Ah, Mike, this thread was just what I needed. Peggy's 3 value massing was a good reminder to reevaluate the painting I am currently working on.

Thanks for bringing it out of the archives!

[Mike McCarty]

Enzie,

I haven't forgotten our dinner and walk on your California beach, and what a gracious host you were. Surrounded by beauty and talent such as yourself, Peggy B, Chris S., Linda B., Johanna Spinks and others, I was but a thorn in the company of roses.

[Enzie Shahmiri]

Mike, you are funny! I enjoyed your company as well and hope you come back and visit soon.

This thread has been very interesting to read and I appreciate all your hard work. I am going through the archives looking for information how to deal with a person and a horse composition. It is half way done, but the value massing was a good reminder to go check and make sure everything is where it needs to be. Chris's input about horse and rider was pretty interesting, but I am looking for a circular composition. The horse tilts it's head down towards a girl. Any ideas where to look further?

[Mike McCarty]

Enzie,

You might want to post your painting in the WIP section.

Speaking of the equestrian, here's a few compositions. The first two by Janet Shearer and then: Iberian Dance by Lesley Humphrey.

[Enzie Shahmiri]

Thanks Mike!

I love the white horse, beautiful! I can't use these images, but thanks for taking the time to look these up for me.

[Mike McCarty]

Advice to young artist (in part)
by Sir Frederick Leighton
at the Royal Academy Banquet 1893

In brief, I do not believe - to change the metaphor - that they who, in our time, have wedded their lives to art have clasped to their breasts a lovely but lifeless corpse. To the very young then, I would fain offer one or two matters for thought, if, perchance, they will hearken to one who has grown old in unwavering sympathy with their struggles and doubts. I would beg them to keep ever before their eyes the vital truth that sincerity is the well-spring of all lasting achievement, and that no good thing ever took root in untruth or self-deception. I would urge them to remember that if every excellent work is stamped with the personality of its author, no work can be enduring that is stamped with a borrowed stamp; and that, therefore, their first duty is to see that the thoughts, the emotions, the impressions they fix on he canvas are in very truth their own thoughts, their own emotions, their own spontaneous impressions, and not those of others: for work that does not spring from the heart has no roots, and will of certainty wither and perish. The other maxim also I would urge on them - that true genius knows no hurry, that patience is of its essence, and thoroughness its constant mark; and, lastly, I would ask them to believe that the gathered experience of past ages is a precious heritage and not an irksome load; and that nothing will fortify them better for the future, and free development, than the reverent and loving study of the past.

Lord Frederick Leighton:

Phoebe 22x24
Music Lesson 36x46 c.1877
The Painters Honeymoon 33x30
Self Portrait 30x25 1880

[Enzie Shahmiri]

Very well written and great advise to pass on. Mike, where did you find this quote? Did it come from a book and if so would you share the title?

I find it curious though that when artists break the rules and create works that do not follow the "traditional way"of composition for example, it is met with an uproar of disapproval. Just the very fact that the work does not follow the old conventions, rattles the comfortable confines of the cocoon that the artist community has spun for itself.

Yet, if the same traditions are followed the work is viewed as a copy and the artist as one who lacks individuality .

In portraiture it seems that walking the thin line of being creative, having individualistic style, yet adhering to all the rules and regulations of what constitutes great portraiture seems even more of a challenge.