Art Principles In Portrait Photography

How to Apply the Highest Classic Artistic Principles to your Photography.

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Figures 90 and 91 are examples of stability attained without the slightest aid of background accessories. The originals are both oil paintings. The background so black in Fig. 91 and so incapable of atmospheric dif fusion, has in the original a soft, transparent quality. The women in both paintings appear with a largeness of impression attained in the masterpieces of space-filling. In Fig. 90 we notice that the drapery touches the frame line only at the bottom, but that the lines of the figure invade and fill each vital section of the picture area, crea ting in the mass of light a dominating note that perfectly balances and rules the background. When we study the frame closely we perceive subtle influences extend ing to it from the figure. The elbow of the arm resting on the hip approaches the frame with a soft contour; the gentle effect upon the interrelation of these lines is like the instant drop of well-sustained orchestral music to a piano softness. The upper frame is rendered enjoyable by that other influence waving through the lines of the figure, forming the sleeves, shoulders, and differently accented lines of the head. Played between them is the face, made radiant in light and tender in expression by the music of the varied cadences of line. The firmest accent in the picture, the face, has between it and the geometric horizontal above it the softness of modulated tone. The left frame with its cutting downward movement is opposed by an