The Project Gutenberg eBook ofCompositionThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: CompositionA series of exercises in art structure for the use of students and teachersAuthor: Arthur W. DowRelease date: April 15, 2014 [eBook #45410]Most recently updated: July 1, 2024Language: English*** START OF THE PROJECT GUTENBERG EBOOK COMPOSITION ***
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: CompositionA series of exercises in art structure for the use of students and teachersAuthor: Arthur W. DowRelease date: April 15, 2014 [eBook #45410]Most recently updated: July 1, 2024Language: English
Title: Composition
A series of exercises in art structure for the use of students and teachers
Author: Arthur W. Dow
Author: Arthur W. Dow
Release date: April 15, 2014 [eBook #45410]Most recently updated: July 1, 2024
Language: English
*** START OF THE PROJECT GUTENBERG EBOOK COMPOSITION ***
CompositionA series of exercises in art structure for the use of students and teachersByArthur Wesley DowProfessor of Fine Arts in Teachers College, Columbia University New York CityFormerly Instructor in Art at the Pratt InstituteAuthor of Theory and Practice of Teaching Art and The Ipswich PrintsNINTH EDITION—REVISED AND ENLARGED WITH NEW ILLUSTRATIONS AND COLOR PLATESSynthesisGarden City, New YorkDOUBLEDAY, PAGE & COMPANY1914ContentsBEGINNINGSTHE THREE ELEMENTSI. LINE—NOTAN—COLORLINE DRAWINGII.—JAPANESE MATERIALS AND BRUSH PRACTICEPRINCIPLES OF COMPOSITIONIII.—WAYS OF CREATING HARMONYLINEIV.—COMPOSITION IN SQUARES AND CIRCLESV.—COMPOSITION IN RECTANGLES—VARIATIONVI.—LANDSCAPE COMPOSITIONVII.—COMPOSITION IN REPRESENTATIONNOTANVIII.—HARMONY-BUILDING WITH DARK-AND-LIGHTIX.—TWO VALUES—VARIATIONS—DESIGNX.—TWO VALUES—LANDSCAPE AND PICTURESXI.—TWO VALUES—GOTHIC SCULPTURE JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO VALUESXII.—THREE VALUESXIII.—MORE THAN THREE VALUESCOLORXIV.—COLOR THEORYXV.—COLOR DERIVED FROM NOTANXVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESCOMPOSITIONXVII.—IN DESIGN AND PAINTINGCONCLUSIONACKNOWLEDGMENTSNote.—The author gratefully acknowledges the courtesy of those named below in according him permission to use photographs of certain paintings and objects of art as illustrations for this book.Museum of Fine Arts, BostonMetropolitan Museum, New YorkThe National Gallery, LondonMusée de Cluny. Paris (J. Leroy, photographer)Musée de Sculpture Comparée. ParisDr. William Sturgis Bigelow, Boston (permission to photograph Japanese paintings)Mr. Frederick W. Gookin (use of photographs from Kenzan and Kano Gyokuraku, made specially for Mr. Gookin, Boston M. F. A.Giacomo Brogi, FlorenceFratelli Alinari. FlorenceD. Anderson, RomeW. A. Mansell & Co., LondonF. Rothier, Reims, France, andKaltenbacher, Amiens, France (the Ruskin photographer)License to use photographs was also obtained from the Autotype Fine Art Company, Limited, London (the Michelangelo drawing, page 51), and from Baldwin Coolidge, Boston.Landscape After Titlepage
CompositionA series of exercises in art structure for the use of students and teachersByArthur Wesley DowProfessor of Fine Arts in Teachers College, Columbia University New York CityFormerly Instructor in Art at the Pratt InstituteAuthor of Theory and Practice of Teaching Art and The Ipswich PrintsNINTH EDITION—REVISED AND ENLARGED WITH NEW ILLUSTRATIONS AND COLOR PLATESSynthesisGarden City, New YorkDOUBLEDAY, PAGE & COMPANY1914
ByArthur Wesley DowProfessor of Fine Arts in Teachers College, Columbia University New York CityFormerly Instructor in Art at the Pratt InstituteAuthor of Theory and Practice of Teaching Art and The Ipswich Prints
Synthesis
ContentsBEGINNINGSTHE THREE ELEMENTSI. LINE—NOTAN—COLORLINE DRAWINGII.—JAPANESE MATERIALS AND BRUSH PRACTICEPRINCIPLES OF COMPOSITIONIII.—WAYS OF CREATING HARMONYLINEIV.—COMPOSITION IN SQUARES AND CIRCLESV.—COMPOSITION IN RECTANGLES—VARIATIONVI.—LANDSCAPE COMPOSITIONVII.—COMPOSITION IN REPRESENTATIONNOTANVIII.—HARMONY-BUILDING WITH DARK-AND-LIGHTIX.—TWO VALUES—VARIATIONS—DESIGNX.—TWO VALUES—LANDSCAPE AND PICTURESXI.—TWO VALUES—GOTHIC SCULPTURE JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO VALUESXII.—THREE VALUESXIII.—MORE THAN THREE VALUESCOLORXIV.—COLOR THEORYXV.—COLOR DERIVED FROM NOTANXVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESCOMPOSITIONXVII.—IN DESIGN AND PAINTINGCONCLUSION
ACKNOWLEDGMENTSNote.—The author gratefully acknowledges the courtesy of those named below in according him permission to use photographs of certain paintings and objects of art as illustrations for this book.Museum of Fine Arts, BostonMetropolitan Museum, New YorkThe National Gallery, LondonMusée de Cluny. Paris (J. Leroy, photographer)Musée de Sculpture Comparée. ParisDr. William Sturgis Bigelow, Boston (permission to photograph Japanese paintings)Mr. Frederick W. Gookin (use of photographs from Kenzan and Kano Gyokuraku, made specially for Mr. Gookin, Boston M. F. A.Giacomo Brogi, FlorenceFratelli Alinari. FlorenceD. Anderson, RomeW. A. Mansell & Co., LondonF. Rothier, Reims, France, andKaltenbacher, Amiens, France (the Ruskin photographer)License to use photographs was also obtained from the Autotype Fine Art Company, Limited, London (the Michelangelo drawing, page 51), and from Baldwin Coolidge, Boston.
Note.—The author gratefully acknowledges the courtesy of those named below in according him permission to use photographs of certain paintings and objects of art as illustrations for this book.
License to use photographs was also obtained from the Autotype Fine Art Company, Limited, London (the Michelangelo drawing, page 51), and from Baldwin Coolidge, Boston.
Landscape After Titlepage