ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
standstill.mentally and physically; the background pro trudes itself at her expense. The same figure, abso lutely unchanged, is transformed into a refined picture in Fig. 83. The woman has character. We do not question her action, pose or surroundings; she is a presence, intimate and yet reserved. There is a sug gestion of plentiful space, of air and light. The back ground in no way obtrudes itself, it is sympathetic, supporting her by its lines, playing with the tones of her figure. What chiefly characterizes this picture above its "plain" ancestor is the embodiment of "movement," the selection of lines for "power." In the pen sketch, - Fig. 84, line A is too despotic, B as accented by contrasting light and shade, is wooden and stolid. To gether with D (also a too rigid line) it makes a struc ture more fitted to uphold an inert concrete mass than the frail delicate form of the human being. Line C is accented in a manner that makes it impossible for our attention to rest with the head. The ornamental curves marked G have no influence for good upon the lines of the figure, nor is there any cohesion between the frame and the inner line-happenings.
A very different problem presents itself for analysis in Fig. 85. Here all is so managed that our eye, noting the rich sweep of the gown, is carried by "movement," steadily and pleasantly to the face. Line B does not dominate but is here subordinated, giving to line L the