Category Archives: Rhythm

My Work – Shape Motifs, Parallels and Rhythm

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Don Farrell - Blue Stripes IV - 2004 - 21 x 29 in - mixed water soluble media

This is a composition which I will continue to revisit as I feel it has endless possibilities for refinement.  I think it is very important to establish a personal and recognizable feel for my paintings.  I have learned this from painters such as Morandi, Mondrian, Matisse and many others.

I am intrigued with the possibilities presented through reduction, and I usually find myself focusing on spatial considerations. This requires removing the superfluous and bringing the composition to the forefront.

Using shape motifs is a great way to establish the foundation of a composition.  In this painting I provided a rectangle motif supported by an oval sub motif.  And I rearranged their sizes and spacing a number of times before I was satisfied.  The white oval above the table appeared late in the painting and I felt it provided both balance, and a little competition, for the shapes and colour on the table.

The three small white lines just above the left edge of the table provide rhythmic movement and keep you in the composition.  There is a vertical at the right directs your eye movement, connecting to a subtle line which loops over the white oval, returning you to the three white lines and then to the shapes on the table.

I must mention the line in the white oval which parallels the blue stripes.  This provides a very important rhythmic integration.

In composition all of the above should be “sensed” rather than seen.

Bonnard – (Providing Structure, Rhythm and Harmony)

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Pierre Bonnard - Landscape Near Vernon - 1915 - 38 x 56 cm - oil

This landscape by Bonnard is a superb example of how a master, whether instinctively or intentionally, provides structure when developing a composition. I say this because a good artists will not permit their formulas to overrule their intuition.

There is a wonderful horizontal rectangle formed by a small white vertical at it’s left and a small bright green tree providing the right vertical,  the top is formed by a roadway running behind the tree.  When you see it and feel it’s impact on the composition, I hope you will appreciate the sophistication.  And remember the viewer does not have to see it, a master is very aware of the power of suggestion and knows we connect to shapes subconsiously.

The tree shapes are magnificent.  Try to feel the movement provided by the parallels of their shapes, particularly that wonderful squarish shape at the right edge and how it supports the other two trees.

I must also mention the harmonious movement in the sky.  There is a square like indentation in the tree at the right edge, which provides the sense of a parallel movement with the other trees and the placement of the cloud above creates the same movement in the blue sky.  I hope you can feel it as well as the wonderful integration of the other clouds with the trees.

There is another beautifully assessed rhythm leading us into the composition from the left.  The harmonious relationship of the three white verticals and the white vertical which forms the left edge of that marvelous rectangle.

Bonnard was a great master painter.

 

Gauguin – (Shape Motifs and Abstraction)

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Paul Gauguin - Still Life with Three Puppies - 1888 - 92 x 63 cm - oil on wood

Gauguin has shown us in this playful still life how rhythm and harmony can be provided by repeating shapes in a composition.  In this painting he uses ovals to provide a wonderful dance for the viewer’s perusal.  Even the table is an oval.  There are many and it is not necessary to count them.  What’s important is knowing that we respond to the harmony of the shapes before we take in the information.

Gauguin’s brilliant play with the shadows is also wonderful and he is abstracting to refine the composition.  The light source seems to be coming from the top right but where are the shadows of the three goblets and the puppy’s (with the orange oval representing it’s ear) rear left leg?  The reason for their omission is they would disrupt the harmony of the composition.  And in the hands of a master like Gauguin, we accept these sophisticated considerations

Abstraction permits us to interpret, which engages and invites us to participate with the artist.

Cezanne – (Rhythm, Parallels and Integration)

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Paul Cezanne - The Great Pine (Mont Sainte-Victoire) - 1886 - 60 x 73 - oil on canvas

Cezanne did a number of paintings of Mont Sainte – Victoire which is fortunate for us as we can see the consistencies in his compositions.  These paintings show us that repeating and refining is a strength in art.

We see the same considerations in this composition as the last post.  It takes time and a great deal of effort to develop a masterful composition and good artists will continue to refine the endless possibilities.  I think the first composition in a series, whether figurative or abstract, is an opening to infinite refinements   We see this in the work of most masters, no matter what their discipline.

I don’t know which of these paintings was first, no matter, what is important is we see the same rhythms and integrations.  What matters is each painting required its own refinements which are assessed differently to suit each composition.  In other words has it’s own voice.  One key difference are the angles we see in the branches, paralleling the road and other lines in the fields.  Wonderful integration providing oblique movement leading into the composition from the bottom right and great structure.  I also love the sophistication of how that black rectangle provides the focus.  Also, note the green line coming up from the tree towards the black rectangle is fantastic!  Do you see the triangle it creates reinforcing the importance of the rectangle?

There is also a harmonious rhythmic line running across the bottom, supporting the rhythm of the branches. I must also point out the parallel lines in the mountain directing us towards the black rectangle.

What a painter!

 

Cezanne – (Rhythm and Integration)

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Paul Cezanne - Mountain Sainte-Victoire - 1886 - 67 x 92 cm - oil on canvas

We can see the care given to rhythm in this painting by Cezanne with the beautiful relationship of the mountain and the branches above.  The sweep of the lower branch at the right matching the curve of the mountain is superb.  I love the one at the top right and how it’s curve connects to the left side of the mountain.  Do you sense the movement running across the painting in the branches?  What a painter!

There is a very sophisticated integration beginning with parallel lines which bring you into the painting from the bottom right and connecting your eye movement to the lower branch at the left.  I hope you can feel it, as it is very impressive.  Can you also feel how this movement is in harmony with the mountain and the branches above?  His thoroughness is outstanding.  What a painter!

 

Klimt (Shapes, Rhythm and Structure)

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Gustav Klimt -Apple Tree II - 1916 - 80 x 80 cm - oil on canvas

Gustav Klimt was a master of shapes and structure and as we see in this late painting, he was a great master of the reductive process.

We see this is his late painting Apple Tree II, a wonderful example of the power of shapes.  We respond to the beautiful shape of the tree, then we take in the dance of the circles , particularly the wonderful pauses of the red circles, in fact, note how one red circle is actually the focus.  The rhythm of the trees on the horizon is wonderful and I hope you feel the dance.

Appreciating that information for the sake of information can disrupt a composition is very important. Shape and pattern within the shape, works much better, as we see in the tree and the triangle shape of the foreground.

There is very sophisticated structural consideration in this painting, which I feel is one of the finest I have ever had the pleasure of engaging with.

It’s the vertical at the bottom right, which not only provides a lovely visual support for the trunk, but also provides one of the best spatial planes I have ever seen!  Do you see the horizontal at the top of the vertical line, forming a right angle and how the feeling of a spatial plane comes forth?  Magnificent!

 

 

Van Gogh (Shape Motifs, Integration and Rhythm)

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Vincent Van Gogh - Still Life of Oranges and Lemons with Blue Gloves - 1889 - 48 x 62 cm -oil on canvas

One of the primary considerations in composition is shapes, and the awareness of not  disrupting  the shapes with detail and modelling.  This can be quite elusive as most painters want to convey their attention to detail, which unfortunately can muddle the foundation of a composition.  And when artists put information before harmony and rhythm, they may sense disappointment with the results.  Van Gogh has shown us how beautifully this can be avoided in this wonderful still life.

The composition is comprised of four “oval” shapes on two flat horizontal shapes.  He did not clutter the foreground and background with superfluous detail.

How Van Gogh harmonized the fruit with the shape of the basket is masterfully painted.  If you blur your eyes you can feel the shape!  He was also very careful with the darker shapes as well, not only with their shapes, but also with very sophisticated integration.

We see this with the branch connecting with the left of the basket, the finger of the glove, and branches at the right.  Note how the branch at the right pointing upword integrates with the dark oval at the top left, and how the gloves connect to the the one at the right.  Your eye follows the top glove then rhythmically connects to the bottom of the branch at the right.

There is an integrating rhythm in this painting that always excites me for it’s sophistication.  The three stripes on the glove not only integrate with the basket with colour but also with a beautiful note in the basket, the small dark lines connecting an orange and a lemon. (see detail)

This is very sophisticated!  And there is more for you to discover. Enjoy!

 

 

My Work – Spatial Considerations

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Don Farrell - Special Place - 2000 - 34 x 52 cm - mixed water soluble media on paper

The seed of this painting was the feeling of the space between the chair and the collection and sorting of the black objects, which are intentionally open for interpretation.  This is more interesting for the viewer.

I usually begin compositions by dividing the space which, in this painting, are the bands spanning the background.  I have now quickly established a rhythm of horizontals which is the foundation of the composition. I was very careful with the rhythmic vertical movements of the chair, the triangles and the floating shape to ensure they will not compete with the horizontal movements.  The primitive animal form appeared, to my delight, after the triangles found their way into the composition.

I was very careful not to loose sight of my initial consideration, the feeling of the space between the chair and the white square, and I don’t mind saying that I like it very much.  The warmth of the chair also feels right, as I wanted it to relate to the white cloth but not dominating.

I think a successful painting is a combination of knowledge of composition and play.

Wyeth – (Integration)

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Andrew Wyeth - Glass House - 1991 - 20 x 27.5 in - watercolour and drybrush

This gorgeous high key painting is wonderful, Wyeth was truly a master of light as well many other considerations.  And I will confine this post to his elegant integrations.

Lets begin with how her head integrates with the vertical elements behind her, particularly the verticals connecting to her forehead and to the back of her collar.  Can you feel how the structure supports her confident posture?  Another connection is how the vertical mullion connects with her knee and how the front of her leg parallels the window sill. Fantastic!

There are two more examples which show us how sophisticated integration can be.  The first is how the shadow behind continues across her body and then on to the bottom right of the painting.  Oh how lyrical integration can be in the hands of a master.  The other brilliant integration is how the birds connect to the trees in front and behind her resulting in a harmony for her dress.

I should mention how the shadow running down the bottom right is supported with a parallel shadow at the left and how the horizontal mullions integrate with her eyes.  There are more for you to discover and I hope you can see why Wyeth is considered to be a great visual poet!

Wyeth – (Composition before Information and Parallels)

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Andrew Wyeth - Fast Lane - 1987 - 36 x 42 cm - drybrush

Andrew Wyeth’s work was instrumental in my development, particularly through studying his wonderful shapes and subtle abstractions.  And this painting has a beautiful example of abstracting for the sake of the composition.  I feel Wyeth would never allow the subject to dictate and would adjust to suit how he wished the viewer to participate in his visual poetry.

Lets begin with the light source and how it bathes the house.  The light is coming from the upper right and it would not be possible for it to wrap around the end of the house, which begs the question, why?.  The reason is composition and by abstracting and allowing the light on the end of the house he has directed your eye down to the unfortunate squirrel.  The angle is far more important than ending the light at the corner (producing a vertical) for the sake of accuracy’ which would disrupt the rhythm guiding you to the squirrel.  Wyeth has provided a rhythm of oblique parallels which include the trees at the far left, the light, on the house, the squirrel’s legs and the shadows on the building at the right behind the tree.  He also abstracted the shadows leading down from the porch railings to harmonize with the squirrel. This is the primary movement in the composition.

The other strong rhythmic movement leading in from the bottom left is beautifully done and masterfully support the squirrel. That strong triangle at the boom right is absolutely wonderful.  Can you feel how it holds you and how it harmonizes in value with the darks in the upper area of the painting?  Last but not least are the yellow lines on the road and how they frame the squirrel conveying what had just happened.

Wyeth was a great poet!  He was far more than a realist.