Учебно-методическое пособие для студентов специальности «Дизайн»
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Sugonyako
| T e x t 11
There are a number of general types of mass-composition which are con- stantly encountered and which require examination. The simplest form is that of a central mass with balancing figures to right and left by which bilateral symmetry is attained; this form is usually that of a pyramid, and achieves the sense of stability and rhythm in an obvious form. It is illustrated in most of Raphael’s Madonnas, but with him it is so stereotyped as to indicate a poverty of imagination. However, this form, although in itself trite, may be combined with other qualities, color, light, line, of such personal and distinctive charac- ter, as in the Castel-franco Giorgione, that it is redeemed from banality. Greater personal expressiveness is achieved in the distribution of masses when instead of a complete bilateral symmetry we have volumes different in kind but similar in function, which surprise and yet fulfil the normal desire for bal- ance. In Titian’s “Disciples at Emmaus”, the number of figures on the left of the central figure is greater than on the right, but there is in addition on the right a window opening out on a landscape, which adds to the interest of the design; thus unity is not disturbed and variety is increased. In the foregoing, it is their relation to a central mass that ties together the separate masses. The central figure is usually in these cases the one of greatest interest, so that there is an obvious parallel between plastic and narrative or human values of the several units. But the object that ties up the parts of a pic- ture may be in itself trivial from the illustrative point of view as, for example, the Cupid in Titian's “Jupiter and Antiope”, or the tree in Cosimo Rosselli’s “Pharaoh’s Destruction in the Red Sea”. A radically different type of composi- tion is achieved when the central mass is not the main focus of interest as in Giorgione's “Concert in the Open Air”, or is discarded, as in some of the As- sist Giottos. In these pictures the elements are kept from falling apart by subtle relationships, by which the artist’s feeling for grouping is expressed. This “feeling for grouping” means a feeling for harmonious relationships, and in plastic art it may vary independently of the other factors: in Raphael, for ex- ample, it is much better than his color. In a good painting all the factors are integrated, and disposition of masses is one of these factors. Paintings of the highest value are composed with color, 133 so that the two factors, composition and color, are blended. In Piero della Francesca and Giotto, firm integration makes their pictures highly personal and individual. In Giorgione’s “Concert in the Open Air,” the color-rhythms bind the picture together, along with the sequence of line and mass. In Titian's “Entombment”, the color, rich, varied, and deep, permeates the entire canvas and ties the units together. The color in the cloaks of the bending figures, at the right and left of the central group, functions as a frame to enclose and unify it. In Tintoretto’s “Paradise”, the rhythmic succession of color unites with the rhythm of line to give the effect of swirling movement which is the keynote of the picture's design. Here, as always, the greater the fusion of means the more living, convincing, real, individual, is the effect, and the far- ther removed from mechanism or academicism. Barnes A. C. Composition // The Art in Painting. 3 rd ed. New York; Harcourt: Brace and Company, 1937. P. 102–103. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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