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Henry Rankin Poore. Pictorial Composition and the Critical Judgment of Pictures
Pictorial Composition and the Critical Judgment of Pictures
Table of Contents
Preface
Preface to Second Edition
Preface to Tenth Edition
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
CHAPTER IV - EVOLVING THE PICTURE
CHAPTER V - ENTRANCE AND EXIT
GETTING INTO THE PICTURE
GETTING OUT OF THE PICTURE
CHAPTER VI - THE CIRCULAR OBSERVATION OF PICTURES
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
CHAPTER VIII - THE COMPOSITION OF ONE, TWO, THREE AND MORE UNITS
THE FIGURE IN LANDSCAPE
CHAPTER IX - GROUPS
CHAPTER X - LIGHT AND SHADE
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
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
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
