ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
C-D and A-B are the same in length; the space G resembles closely Gx, the latter being inverted. The only element having variety in this arrangement is the small blade I as shown in Fig. 15, the space above being larger than that below. This blade of grass by creating an unequal division preserves the "unit" of the surface area. As here drawn it affects us as a line, not as a leaf, thereby removing the necessity of account ing for its floating.
A motive submits to being arranged upon the frame-bounded surface.
Do we not now begin to understand the law that art is not nature, not direct copying of nature, not even arrangement of nature in her concrete forms ? Art in its highest sense reduces nature to abstract form. Na ture furnishes us with shapes; we accept the lines, spots, masses, etc., furnished by these shapes, and we make art by breaking up a surface with them and creating beautiful arrangement. Whether the lines, spots, etc., are formed by one blade of grass or by many, by trees, drapery, or a person's face and figure, they must be considered and treated in their abstract quality before the perfect space-filling can be attained.
Referring again to the photograph heading this chapter, we find that the woman, like the bunch of grass, is simply a fragment of nature presented to us with accessories that hardly remind us of the objects