5.1 Influence on composition

Photography and Japanese art revolutionized how Impressionist and Post-Impressionist artists approached composition. These influences led to new framing techniques, unusual perspectives, and a focus on capturing fleeting moments.

Artists began rejecting traditional academic conventions, experimenting with asymmetry, flattened perspective, and decorative patterns. They embraced diagonals and curves to create dynamic compositions, while still striving for balance and harmony in their work.

Photography's influence on composition

• Photography's advent in the mid-19th century had a profound impact on the way Impressionist and Post-Impressionist artists approached composition in their paintings
• Artists began to incorporate photographic techniques and aesthetics into their work, leading to new ways of framing, cropping, and capturing scenes on canvas
• Photography's influence led to a shift away from traditional, academic composition and towards more modern, experimental approaches

Cropping and framing techniques

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• Impressionist and Post-Impressionist artists adopted photographic cropping techniques, often focusing on a specific part of a scene rather than depicting the entire view
• This approach allowed artists to create more intimate, close-up compositions that emphasized certain elements or details (Degas' ballet dancer paintings)
• Artists also experimented with off-center framing, placing subjects at the edges of the canvas or partially cutting them off to create a sense of spontaneity and informality (Caillebotte's "Paris Street; Rainy Day")

Spontaneous and candid scenes

• Photography's ability to capture fleeting moments and candid scenes inspired Impressionist and Post-Impressionist artists to depict everyday life in a more spontaneous, unposed manner
• Artists sought to convey the immediacy and transience of modern life by painting scenes of people engaged in everyday activities (Renoir's "Luncheon of the Boating Party")
• This approach contrasted with the carefully staged and idealized scenes favored by academic painters, reflecting a new interest in capturing the authentic, lived experience of the world

Unusual perspectives and angles

• Influenced by photography's ability to capture scenes from various viewpoints, Impressionist and Post-Impressionist artists began to experiment with unusual perspectives and angles in their compositions
• Artists depicted scenes from high above or down below, creating a sense of depth and dynamism (Monet's "Boulevard des Capucines")
• They also incorporated tilted horizons, diagonal lines, and asymmetrical arrangements to create more visually engaging and modern compositions (Van Gogh's "The Bedroom")

Japanese art's influence on composition

• The opening of Japan to the West in the 1850s introduced Impressionist and Post-Impressionist artists to Japanese art, particularly ukiyo-e woodblock prints
• Japanese art's unique compositional principles, such as asymmetry, flattened perspective, and decorative patterning, had a significant impact on the way Western artists approached composition in their work
• Artists began to incorporate these elements into their paintings, leading to a new aesthetic that challenged traditional Western notions of perspective, depth, and balance

Asymmetry and empty space

• Japanese art's use of asymmetrical compositions and empty space influenced Impressionist and Post-Impressionist artists to move away from the balanced, symmetrical arrangements favored by academic painters
• Artists began to incorporate large areas of empty space into their compositions, using it to create a sense of atmosphere, mood, or contemplation (Whistler's "Nocturne in Blue and Gold: Old Battersea Bridge")
• Asymmetrical arrangements of subjects and objects became more common, with artists placing key elements off-center or near the edges of the canvas to create visual interest and tension (Degas' "The Tub")

Flattening of perspective

• Japanese art's lack of linear perspective and emphasis on flat, two-dimensional design influenced Impressionist and Post-Impressionist artists to experiment with flattening perspective in their own work
• Artists began to compress space and reduce the illusion of depth, creating compositions that emphasized the surface of the canvas and the arrangement of forms and colors (Gauguin's "Vision After the Sermon")
• This approach led to a new aesthetic that prioritized the decorative and expressive qualities of painting over the realistic representation of three-dimensional space

Decorative patterning and color

• Japanese art's use of bold, flat areas of color and intricate decorative patterns inspired Impressionist and Post-Impressionist artists to incorporate these elements into their own compositions
• Artists began to use color and pattern in a more abstract, non-representational way, creating compositions that emphasized the interplay of forms and hues (Van Gogh's "Portrait of Père Tanguy")
• The influence of Japanese art led to a new appreciation for the decorative and ornamental aspects of painting, with artists using patterning and color to create visually striking and emotionally expressive compositions (Bonnard's "The Checkered Blouse")

Rejection of traditional composition

• Impressionist and Post-Impressionist artists rejected many of the traditional compositional principles and techniques taught in academic art schools
• They sought to break free from the rigid, formulaic approach to composition favored by the academic establishment and to create new, more modern ways of organizing and presenting their subjects
• This rejection of tradition led to a period of experimentation and innovation in composition, as artists explored new ways of arranging forms, colors, and spaces on the canvas

Challenging academic conventions

• Impressionist and Post-Impressionist artists challenged the academic conventions of composition, such as the use of linear perspective, symmetrical balance, and the hierarchical arrangement of figures
• They abandoned the idea that a painting should have a clear, logical structure and a single, fixed viewpoint, instead creating compositions that were more fluid, dynamic, and open-ended (Manet's "Luncheon on the Grass")
• Artists also rejected the notion that a painting should tell a clear, moralistic story or convey a specific message, focusing instead on capturing the sensory experience of the world around them (Monet's Haystacks series)

Experimentation with new approaches

• Freed from the constraints of academic tradition, Impressionist and Post-Impressionist artists experimented with a wide range of new compositional approaches and techniques
• They explored the use of unusual viewpoints, cropped frames, and asymmetrical arrangements to create more visually engaging and emotionally expressive compositions (Cézanne's Mont Sainte-Victoire series)
• Artists also experimented with the use of color, light, and brushwork to create compositions that emphasized the surface of the canvas and the materiality of the paint itself (Seurat's "A Sunday Afternoon on the Island of La Grande Jatte")

Focus on capturing the moment

• Impressionist and Post-Impressionist artists placed a new emphasis on capturing the fleeting, transitory aspects of the world around them, rather than on creating timeless, idealized scenes
• They sought to convey the immediacy and vitality of modern life by painting scenes of people, places, and events as they appeared in the moment, without the careful staging and preparation of academic art (Renoir's "Dance at the Moulin de la Galette")
• This focus on capturing the ephemeral, ever-changing nature of reality led to compositions that were more spontaneous, dynamic, and responsive to the world around them (Morisot's "The Harbor at Lorient")

Use of diagonals and curves

• Impressionist and Post-Impressionist artists made extensive use of diagonal lines and curves in their compositions to create a sense of movement, energy, and dynamism
• They abandoned the static, horizontal-vertical grid of academic composition in favor of more fluid, organic arrangements that emphasized the flow and rhythm of forms and spaces
• The use of diagonals and curves allowed artists to create compositions that were more visually engaging, emotionally expressive, and responsive to the natural world around them

Dynamic and energetic compositions

• Diagonal lines and curves create a sense of movement and energy in a composition, leading the viewer's eye across the canvas in a dynamic, active way (Van Gogh's "The Starry Night")
• Artists used these elements to convey the vitality and flux of modern life, capturing the hustle and bustle of city streets, the rush of water in a stream, or the swaying of trees in the wind (Monet's "The Seine at Argenteuil")
• The use of diagonals and curves also allowed artists to create compositions that were more abstract and expressive, emphasizing the formal qualities of line, shape, and color over the literal representation of objects and spaces (Cézanne's "The Large Bathers")

Leading the viewer's eye

• Diagonal lines and curves can be used to guide the viewer's eye through a composition, creating a sense of flow and direction that leads from one element to another
• Artists used these elements to create compositions that were more engaging and immersive, inviting the viewer to explore the painting and discover its various parts and details (Degas' "The Dance Class")
• The use of diagonals and curves also allowed artists to create compositions that were more open-ended and suggestive, leaving room for the viewer's own imagination and interpretation (Gauguin's "Where Do We Come From? What Are We? Where Are We Going?")

Creating a sense of movement

• Diagonal lines and curves can be used to create a sense of movement and dynamism in a composition, even when depicting static objects or scenes
• Artists used these elements to convey the energy and vitality of the natural world, capturing the flow of water, the rush of wind, or the growth of plants and trees (Van Gogh's "Cypresses")
• The use of diagonals and curves also allowed artists to create compositions that were more expressive and emotive, conveying a sense of inner movement or psychological state (Munch's "The Scream")

Balance and harmony

• Despite their rejection of traditional academic principles, Impressionist and Post-Impressionist artists still sought to create compositions that were balanced, harmonious, and aesthetically pleasing
• They used a variety of techniques and strategies to achieve a sense of unity, coherence, and visual order in their paintings, even as they experimented with new forms and styles
• The pursuit of balance and harmony in composition allowed artists to create works that were both visually satisfying and emotionally resonant, inviting the viewer to engage with the painting on a deeper, more intuitive level

Arrangement of forms and colors

• Impressionist and Post-Impressionist artists carefully considered the arrangement of forms and colors in their compositions, seeking to create a sense of balance and harmony through the interplay of shapes, lines, and hues
• They often used complementary colors, such as blue and orange or red and green, to create a sense of visual contrast and tension that was both dynamic and harmonious (Pissarro's "The Red Roofs")
• Artists also used the repetition of forms and colors to create a sense of rhythm and unity in their compositions, leading the viewer's eye through the painting in a balanced, orderly way (Seurat's "The Circus")

Unity and cohesion in design

• Impressionist and Post-Impressionist artists sought to create compositions that were unified and cohesive, with all the various elements working together to create a sense of overall harmony and balance
• They often used similar colors, shapes, or motifs throughout the painting to create a sense of visual continuity and coherence (Cézanne's still lifes)
• Artists also used techniques such as overlapping forms, continuous lines, and consistent brushwork to create a sense of unity and integration in their compositions (Gauguin's Tahitian paintings)

Interplay of positive and negative space

• Impressionist and Post-Impressionist artists were attentive to the interplay of positive and negative space in their compositions, using the balance and tension between filled and empty areas to create a sense of visual harmony and interest
• They often used large areas of empty space to create a sense of atmosphere, mood, or contemplation, inviting the viewer to pause and reflect on the painting's deeper meanings and emotions (Whistler's "Arrangement in Grey and Black No. 1")
• Artists also used the careful placement of forms and colors to create a sense of balance and equilibrium between positive and negative space, leading to compositions that were both visually satisfying and emotionally engaging (Vuillard's interior scenes)

Rule of thirds and golden ratio

• Although they often rejected traditional academic principles, some Impressionist and Post-Impressionist artists still made use of classic compositional techniques such as the rule of thirds and the golden ratio
• These techniques involve dividing the canvas into a grid of thirds, both horizontally and vertically, and placing key elements of the composition along these lines or at their intersections
• The use of the rule of thirds and the golden ratio allowed artists to create compositions that were visually balanced, harmonious, and aesthetically pleasing, even as they experimented with new forms and styles

Dividing the canvas for interest

• The rule of thirds involves dividing the canvas into nine equal parts using two horizontal and two vertical lines, creating a grid of thirds that can be used to guide the placement of key elements in the composition
• Artists often placed important subjects, such as figures, buildings, or landscape features, along these lines or at their intersections, creating a sense of visual interest and balance (Monet's "Woman with a Parasol")
• The use of the rule of thirds allowed artists to create compositions that were dynamic and engaging, inviting the viewer's eye to move around the canvas in a natural, intuitive way (Renoir's "The Umbrellas")

Placement of key elements

• The golden ratio, also known as the divine proportion, is a mathematical concept that describes a particular ratio between two quantities, approximately equal to 1.618
• Some Impressionist and Post-Impressionist artists used the golden ratio to guide the placement of key elements in their compositions, creating a sense of visual harmony and balance that was both aesthetically pleasing and mathematically precise
• Artists often placed important subjects, such as figures or focal points, at the golden ratio points of the canvas, creating a sense of visual interest and emphasis (Seurat's "Bathers at Asnières")

Creating a pleasing visual balance

• The use of the rule of thirds and the golden ratio allowed Impressionist and Post-Impressionist artists to create compositions that were visually balanced and harmonious, even as they experimented with new forms and styles
• By placing key elements along the lines and intersections of the grid, or at the golden ratio points of the canvas, artists could create a sense of visual equilibrium and stability that was both aesthetically pleasing and emotionally satisfying
• The use of these classic compositional techniques also allowed artists to create works that were accessible and engaging to a wide audience, even as they pushed the boundaries of traditional art forms and styles (Cassatt's "The Child's Bath")