CHAPTER VII 



Composition 

 in Landscape 

 and in 

 Painting 



LANDSCAPE COMPOSITION 



COMPOSITION IN LANDSCAPE AND IN PAINTING ORDER IN COMPOSITION, OBJECTIVE 



AND SUBJECTIVE SEGREGATION OF THE COMPOSITION UNITY AND ATTENTION 



Attention and training Emphasis, contrast, climax, dominance Landscape 

 composition within the visual angle Unity of larger landscape compositions 

 THE FORMS OF ORDER IN COMPOSITION REPETITION Harmony, monotony, 

 and variety SEQUENCE Sequence of continuation or repetition Rhythm 

 Progression BALANCE Symmetrical Occult Intensification of emotion 

 from repetition, sequence, and balance CHARACTERISTICS OF OBJECTS IN 

 LANDSCAPE COMPOSITION SHAPE Individuality through shape in landscape 

 composition Value of shapes and their arrangement in composition SIZE, 

 SCALE, AND DISTANCE Absolute and relative scale Indication of scale in 

 landscape composition Effects of perspective TEXTURE Scale relation of 

 texture to size and shape COLOR Color and light Hue, intensity, and value 

 in color composition Emotional effect of colors Color harmony Color in 

 landscape composition LIGHT AND SHADE Light and shade unity in land- 

 scape composition Variability of light and shade ATMOSPHERE AND ATMOS- 

 PHERIC PERSPECTIVE As a consideration in landscape composition ILLU- 

 SIONS IN COMPOSITION Of material Of shape Of size Of character 

 Associational illusions LANDSCAPE COMPOSITIONS Typical kinds of pictorial 

 compositions The vista as a typical example Pictorial enframement, fore- 

 grounds, backgrounds, and planes of distance OBJECTS IN LANDSCAPE COMPOSI- 

 TION ACCORDING TO THEIR DESIGN VALUE Temporary elements. 



Landscape composition is to the landscape architect, as it is to 

 the landscape painter, the arrangement of the elements of his design 

 into an ordered whole. The painter, however, is making a composition 

 in pigments on a flat canvas which represents his subject as seen from 

 one point of view only ; and he is therefore chiefly concerned with the 

 two-dimensional relations of his elements, in the plane of his canvas, 

 as seen from that point of view. The three-dimensional relations of 

 things which he represents he can only suggest by the way he handles 



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