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Landscape composition
- Nov 29, 2013
- 1 min read
One of the aspects of learning to paint I found frustratingly slow to grasp was how to compose a landscape. I eventually came across Composition of Outdoor Panting by Edgar Payne – a jewel of a book. Payne gives some ten or so simple rules and explains them clearly. His work has served me so well that I feel obliged to pass on his message. Below are most of his compositions to which I have added photographs of some paintings by well known artists to show just what was meant.
Here we have the Radiating Lines composition, which leads you into the painting and thus gives depth to the picture.
The Vladimirka Road, Isaak Levitan, oil on canvas, 79 x123cm, 1892, Tretyakov Gallery, Moscow The Vladimirka Road, Isaak Levitan, oil on canvas, 79 x123cm, 1892, Tretyakov Gallery, Moscow
Next the Steelyard composition which gives a balanced, but asymmetrical view.
The Entrance to the Grand Canal, Venice, John Singer Sargent, watercolour, 30.5 x 48.8cm, private collection The Entrance to the Grand Canal, Venice, John Singer Sargent, watercolour, 30.5 x 48.8cm, private collection
Below the central mass composition which focusses on one subject just off centre.
L’Ete, Alexandre Calame, huile sur toile, 121.2 x 170.5cm, 1850, Musee d’Art et d’Histoire , Geneve, Switzerland. L’Ete, Alexandre Calame, huile sur toile, 121.2 x 170.5cm, 1850, Musee d’Art et d’Histoire , Geneve, Switzerland.
The L-shaped composition, which I find more difficult to bring off.
Le Chemin de Sevres, Vue de Paris, Jean-Baptiste-Camille Corot, oil on canvas 34 x 49cm, 1855-1865, Louvre, ParisLe Chemin de Sevres, Vue de Paris, Jean-Baptiste-Camille Corot, oil on canvas 34 x 49cm, 1855-1865, Louvre, Paris
The Circle, which leads the eye around the painting.
Le batelier de Mortefontaine, Jean-Baptiste-Camille Corot, oil on canvas, 60.9 x 89.8cm, 1865 – 1870, Frick Collection , USA Le batelier de Mortefontaine, Jean-Baptiste-Camille Corot, oil on canvas, 60.9 x 89.8cm, 1865 – 1870, Frick Collection , USA
The Diagonal Line.
Evening Golden Plyos, Isaak levitan, oil on canvas, 1889 Evening Golden Plyos, Isaak levitan, oil on canvas, 1889
The Silhouette, where either darks or lights should predominate and not share the space equally.
The Triangle, which is a classic in still lifes and in portraiture.
December Morning, Pin Mill, Edward Seago, oil on canvas, 40 x 61cm December Morning, Pin Mill, Edward Seago, oil on canvas, 40 x 61cm
The Three Spot composition, which like the Circle composition, leads the eye around the painting.
Boat in the waters off Capri, John Singer Sargent, Oil on canvas, 45.7 x 59.7cm 1878, private collection Boat in the waters off Capri, John Singer Sargent, Oil on canvas, 45.7 x 59.7cm 1878, private collection
The S composition, which leads the viewer into the landscape and gives it depth.
Apiary in the Wood, Ivan Shishkin, oil on canvas, 80 x 64cm , 1876, Museum of History and Architecture, Nishny-Novgorod, Russia Apiary in the Wood, Ivan Shishkin, oil on canvas, 80 x 64cm , 1876, Museum of History and Architecture, Nishny-Novgorod, Russia
Other factors such as tonal balance, depth, variety, colour contrast and unity of image have to be considered, so just following these compositional techniques will not guarantee immediate success but at least it means getting on the right track. Searching for these compositions can help to understand why some unspectacular landscapes can be very beautiful and harmonious. It also helps train the eye to find such beauty and harmony just about everywhere.
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