Category Archives: Rhythm

Van Gogh – (Parallels, Rhythm and Integration)

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Vincent van Gogh - Portrait of Doctor Paul Gachet - 1890 - 66 x 57 cm - 26 x 22.5 in - oil on canvas

Continuing from the last post, I would now like to turn your attention to Van Gogh’s wonderful brushstrokes and how they provide rhythmic movement for your eye, as well as very sensitive integration.  The strokes connect the background and Paul Gashet’s coat with harmonious movement as well as form.  How Van Gogh integrated the blues to read as one shape at first glance is masterful.

Those books are fantastic!  The yellow provides a fantastic pull and the pages are part of a rhythm of parallels which provide an oblique movement.  Subconsciously, or not, your eye will move in the direction of the pages and the lower left arm.  Also note how the plant is parallel to the upper left arm, another movement.

Two more impressive considerations are the vertical leaf projecting from the glass, providing subtle structure for the composition.  And those wonderful yellow strokes just above the line, running towards his ear, pull me briefly and gently from his Gashet’s gaze.  Does your perusal pause there briefly?

These considerations are all the more impressive as Van Gogh worked quickly, he was truly a great painter!

 

 

Edouard Vuillard – (Parallels, Pulls, and Integration)

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Edouard Vuillard - The Newspaper - 1910 - 34 x 55 cm - 13.5 x 22 in - oil on cardboard

This is a superb example of how masters assess their compositions.  Vuillard,as Bonnard, was interested in domestic scenes, and he shows us how any subject is an opportunity to create a sophisticated painting.

He was noted for his wonderful shapes and patterns which are a great way to gain control of the subject matter.  In other words not permitting the complexities of detail dictate to the artist.

In this post, however, I will focus on his thorough assessment of the composition.

I will begin with the curtain at the right and how it blends with the tree.  Note how the curtain does not disrupt the rectangle of the window, which permits a rhythm of rectangles, spanning the top of the painting.

He provided a wonderful movement with parallels.  The curtain tie at the right and it’s parallel projecting from the mullion.  Do you feel the movement towards the figure?

There is a marvelous pull which excited me.  That marvelous juicy red triangle!  I love how sensitively and yet boldly he pulls me from the figure, very impressive.

Vuillard has integrated beautifully.  Lets begin with the dark vertical at the right edge and how it connects to the red stripe on the chair.  A more subtle one is the merging of the curtain and curved back of the chair.  Also the connection of the window mullion with another chair and the very impressive integration of the shutter and the newspaper.  It is very subtle. Do you feel Vulliad’s consideration of bending the bottom right of the shutter to permit the connection?

I must mention the lovely yellow pause at the left and it briefly holds you.

There is more to discover.  Enjoy!

Van Gogh – (Pulls, Harmony and Integration)

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Vincent van Gogh - The Street Menders - 1889 - 71 x 93 cm - 28 x 37 in - oil on canvas

Van Gogh’s considerations for the viewer are absolutely superb.  He orchestrates your eye movement across the composition beautifully.

Lets begin with a question.  Why is the lower portion of the tree at the right a darker value the the rest of the tree?  The answer is Van Gogh has provided a pull for the focus.  In other words when you look at the primary figure you eye wants move to the dark trunk because it is in harmony with the figure.

The two dark figures are also pulls and provide a second pause in the harmony of the three dak values.

Another harmony is three red notes.  The window, the red beside the dark tree trunk and the worker’s hat.

I love how Van Gogh used doorways and the red window to integrate the figures.  Can you feel the vertical connections?

There is an integration which excited me which I hope you will appreciate.  There is a angled black line in the tree to the right of the two workers at the centre of the painting (see detail below)

The Street Menders - detail

The line is in harmony with the right side of the figure at the left.  This excites me because I can feel Van Gogh assessing the composition.  And I think this is a exceptional integration.

The title is interesting because the street workers are barely noticeable.  Why?  Because Van Gogh did not want information to disrupt his chosen harmony.

Chagall – (Parallel Rhythm, Integration and Motifs)

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Marc Chagall - The Poet - 1911 - 197 x 146 cm - 78 x 57 in - oil on canvas

To continue let’s go to the bottle and how it is supported by a rhythm of parallels.  From left to right we have the poet’s right leg, his forearms, a line on his chest, the edge of a red triangle, a small gray rectangle, a small red triangle, and the curtain.  There are a couple other subtle ones as well.

Another series of parallels which is very closely related, are his left leg and the small spatial angle beside it.  The rhythm continues with a very subtle plane in the grayish area, then the edge of the red table, which integrates with blue on his forearm.  Please note the horizontal integrating his arm to the table.  Chagall’s compositional assessments are very sophisticated and most impressive.

Note how his inverted the head is integrated with the background.  There is an edge which connects to the chin and then runs to the right into the curtain.  Can you feel how it supports the head?

We could say the composition has a triangle motif supported by ovals, circles and rectangles.  Take the hand holding the glass.  It is a partial oval, and harmonizes with the head and other ovals above.

My last observation.  Note how the cat is in space.  I say this because of the spatial plane, or the background overlapping the cat. Do you feel it?

I could go on.  Chagall is wonderful!

Bonnard (Integration, Rhythm and Motifs)

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Pierre Bonnard - After the Meal - 1925 - 117 x 114 cm - 46 x 45 in - oil on canvas

While perusing this painting I remember asking myself.  Why is the wine bottle shape  off kilter?  And thanks to considering composition before subject, I realized the bottle shape had to be adjusted to harmonize (rhythm) and support the figure leaning over the table.

I continued to let Bonnard lead me through his poetic composition.  I love how he integrated the figure with the dark vertical connecting with the blue line in her sweater.  Then how your eye is carried down the edge of the tablecloth to her shoes. Note how the stripes on her skirt parallel the edge of the table, another rhythm.

Another beautiful integration is the dark horizontal which connects to her head.  Then you are taken along the blue line to the other figure at the left.

This figure is a superb example of his sophisticated use of motifs.  She is actually occupies a rectangle and is actually a rhythm of rectangles herself.   It may help if you blur your vision.

The rectangle motif is dominant and is supported by a sub motif of ovals

Also note how the bottom of the smaller figure’s dress integrates with the table top.

There are many other beautiful notes to enjoy such as his sophisticated use of colour.

Let me finish with the bottles.  Do you feel how the dark vertical supports them in size and value?

 

 

 

Influences (Matisse on Diebenkorn)

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Richard Diebenkorn - Recollections of a Visit to Leningrad - 1965 - 183 x 214 cm - 72 x 84 in - oil on canvas

A great example of a notable artist permitting influence in their work.  One could say this is a homage to Matisse.

The influence is obvious, but the painting is a Diebenkorn.  Showing the feel of another artist’s considerations and not losing yourself is very important.

The composition has strong shapes and flatness, which he did so well.  Yet the painting has depth without using perspective.  All that is needed are a couple of obliques which  accomplish this nicely.

Diebenkorn’s superb use of shapes permits colour to come forth and dance!

I must mention the rhythm of blacks taking you across the painting.  They are wonderful notes relieving the strong verticals in the painting.

Henri Matisse - Interior with Eggplants - 1911 - 212 x 246 cm - 84 x 97 in - distemper on canvas

 

 

Rhythm

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Don Farrell - Black Drawers - 2006 - 53 x 73 cm - 21 x 29 in - mixed media on paper

Providing rhythm in a painting.  Now that is a very open consideration, very subjective and without limits.  Now having said that, I should say, spatial considerations are at the forefront in my work.  Therefore the reductive process becomes very important.

In this painting, the primary rhythm is based on three.  The three drawers and the supporting three inverted “V” marks on the wall.  The lines on the table and a series of horizontal lines on the wall are rhythmic as well.

I brought up pulls the other day and this painting has a great one, the white circle shape on the wall.  Do you feel being pulled from the drawers to the circle?

I should also point out the vertical line in front of the wall just right of the table. This is a continuation of the rhythm of the lines on the table.  Do you sense a plane in front?

Thank you Cezanne!

Motifs and Submotifs

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Don Farrell - Three Blocks - 1998 - 15 x 25 cm - 6 x 10 in - egg tempera

This small painting is an excellent example for showing the importance of shape motifs. The composition has a rectangle motif, supported by a sub motif of rhythmic loops.

Let me take you to the top area first.  Note how the area is made up from a series of subtle rectangles.  They must be subtle in order not to compete with the focus of the painting.

The chair seats and the three blocks are other notes in the rectangle motif.  The blocks, being the focus, are supported by slightly emphasizing the two rungs just below, (another rectangle.)

There is a very important small rectangle above the middle chair, which echoes the blocks.  In compositional terms this pulls your gaze gently from the blocks.  Pulls are wonderful compositional elements, if they are in tune. They musn’t disrupt the viewer’s gaze or compete.

I will be mentioning and showing more pulls and pauses in the works of many notable artists in upcoming posts.

The sub motif (the loops) which are the shapes of the chair backs, are repeated in the top area as shown in this detail.

These Integrate the chairs with the background, which is very important.

Another important note is how each chair is painted as if you are directly in front.  Very important, as this frees the viewer’s movement as mentioned in the post on Cezanne’s painting “Receptacles, Fruit and Biscuits on a Sideboard”