Pictorial Composition and the Critical Judgment of Pictures
Free

Pictorial Composition and the Critical Judgment of Pictures

By Henry Rankin Poore
Free
Book Description
Table of Contents
  • Preface
  • Preface to Second Edition
  • Preface to Tenth Edition
  • Contents
  • Illustrations
  • PART I
    • CHAPTER I - INTRODUCTORY
    • CHAPTER II - THE SCIENTIFIC SENSE IN PICTURES
    • CHAPTER III - BALANCE
      • BALANCE OF THE STEELYARD.
      • POSTULATES
      • VERTICAL AND HORIZONTAL BALANCE.
      • THE NATURAL AXIS
      • APPARENT OR FORMAL BALANCE.
      • BALANCE BY OPPOSITION OF LINE.
      • BALANCE BY OPPOSITION OF SPOTS.
      • TRANSITION OF LINE.
      • BALANCE BY GRADATION
      • BALANCE OF PRINCIPALITY OR ISOLATION
      • BALANCE OF CUBICAL SPACE.
    • BALANCE OF THE STEELYARD.
    • POSTULATES
    • VERTICAL AND HORIZONTAL BALANCE.
    • THE NATURAL AXIS
    • APPARENT OR FORMAL BALANCE.
    • BALANCE BY OPPOSITION OF LINE.
    • BALANCE BY OPPOSITION OF SPOTS.
    • TRANSITION OF LINE.
    • BALANCE BY GRADATION
    • BALANCE OF PRINCIPALITY OR ISOLATION
    • BALANCE OF CUBICAL SPACE.
    • CHAPTER IV - EVOLVING THE PICTURE
    • CHAPTER V - ENTRANCE AND EXIT
      • GETTING INTO THE PICTURE
      • GETTING OUT OF THE PICTURE
    • GETTING INTO THE PICTURE
    • GETTING OUT OF THE PICTURE
    • CHAPTER VI - THE CIRCULAR OBSERVATION OF PICTURES
      • CIRCULAR COMPOSITION
      • RECONSTRUCTION FOR CIRCULAR OBSERVATION.
    • CIRCULAR COMPOSITION
    • RECONSTRUCTION FOR CIRCULAR OBSERVATION.
    • CHAPTER VII - ANGULAR COMPOSITION, THE LINE OF BEAUTY AND THE RECTANGLE
      • The Triangle.
      • THE VERTICAL LINE IN ANGULAR COMPOSITION
      • ANGULAR COMPOSITION BASED ON THE HORIZONTAL
      • THE LINE OF BEAUTY.
      • THE RECTANGLE
      • LINE
    • The Triangle.
    • THE VERTICAL LINE IN ANGULAR COMPOSITION
    • ANGULAR COMPOSITION BASED ON THE HORIZONTAL
    • THE LINE OF BEAUTY.
    • THE RECTANGLE
    • LINE
    • CHAPTER VIII - THE COMPOSITION OF ONE, TWO, THREE AND MORE UNITS
      • THE FIGURE IN LANDSCAPE
    • THE FIGURE IN LANDSCAPE
    • CHAPTER IX - GROUPS
    • CHAPTER X - LIGHT AND SHADE
      • PRINCIPALITY BY EMPHASIS, SACRIFICE, AND CONTRAST.
      • GRADATION
    • PRINCIPALITY BY EMPHASIS, SACRIFICE, AND CONTRAST.
    • GRADATION
    • EQUIVALENTS
    • CHAPTER XI - THE PLACE OF PHOTOGRAPHY IN FINE ART
  • PART II - THE ÆSTHETICS OF COMPOSITION
    • CHAPTER XII - BREADTH VERSUS DETAIL
      • SUGGESTIVENESS.
      • MYSTERY.
      • SIMPLICITY.
      • RESERVE.
      • RELIEF.
      • FINISH.
    • SUGGESTIVENESS.
    • MYSTERY.
    • SIMPLICITY.
    • RESERVE.
    • RELIEF.
    • FINISH.
  • PART III - THE CRITICAL JUDGEMENT OF PICTURES
    • CHAPTER XIII - THE MAN IN ART
    • CHAPTER XIV - SPECIFIC QUALITIES AND FAULTS
    • CHAPTER XV - THE PICTURE SENSE
    • CHAPTER XVI - COLOR, HARMONY, TONE
      • VALUES.
    • VALUES.
    • CHAPTER XVII - ENVELOPMENT AND COLOR PERSPECTIVE
    • CHAPTER XVIII - THE BIAS OF JUDGMENT
    • CHAPTER XIX - THE LIVING PRINCIPLE
  • APPENDIX
    • The Concept
    • The Procedure
    • Design
    • Line
    • The Vertical
    • The Horizontal
    • The Diagonal
    • Principality and Sacrifice
    • The Dominant Idea
    • Harmony
    • The Must Be's and May Be's of Composition
    • Perspective
    • Balance
    • Color
    • Tone
    • Quality
    • Don'ts
  • Credits
  • A Word from Project Gutenberg
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