ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
It is the curve at x that gives the affectionate, grace ful ending.
This line of beauty occurs everywhere in nature ;and is natural to art in its various branches. ;
We see it in the golden rod, in reeds and weeds, in the swan's neck, in the limbs of trees. The wave is made up of its shapes.
In the human form we find it in most charming variation, in woman's arm for instance, or in man's arm or hand, or in any part of the body when analyzed for line quality.
When attempting the portraits of women we should look for the lines of grace and beauty in dress and in .the form revealed through dress.
In illustration 90 trivial lines have everywhere been omitted or subdued: the essential form-rendering, movement-bearing lines dominate and are made spirit ual through grace and beauty.
Applying the theory of velocity to these contours, we begin to understand why this portrait is strongly emo tional.
The lines of Fig. 91 owing to their selection and placing have beauty and express strong feeling; their tempo is wonderfully controlled and they are individ ually and intrinsically beautiful because of their grace. Lines A, B, C in Fig. 91 (see drawing 92) should re ceive, our special study. They supply the impetus for