CHAPTER VII 

 LANDSCAPE COMPOSITION 



Composition 

 in Landscape 

 and in 

 Painting 



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 vi^hole. 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 



