There're exceptions as always with great artists, with Matisse i can see the world through a window cause there's no bounderie from inside/outside, magician.
The artist wants his audience to participate in his work as a whole and not just see a tiny part of the framework as a small portion encapsulated with line,working within the restraints of a set size is easier on a large canvas in this respect,but practically speaking it is a luxury that most artists never aspire to,it all helps the immersion into the painting and disregarding the edges.
@@colugapictures7529 like in the grandcanyon painting where ypur eyes follow the edges around the picture? Does he have anh books or clips arpund where he talks about his landscape composition? Thanks for the previous reply too.
@@colugapictures7529 Sorry about the third question again here. So he is saying the edge of the picture is more of a focus then the middle? Using the grand canyon paintings as an example, in those paintings you follow the edges around the picture, with multiple 'vanishing points', and the middle grounds are stuffed into the foreground, all taken from different vantage points, and by doing this it that makes you look everywhere, like in real life? Im sorry again but im am tranfixed by this idea. Theres an Australian Painter, Brett Whitley, he seems to do the same thing David does with multiple perspectives within a picture. Fascinating stuff.
@@theronjerbell9528 Bear in mind that he's not so much talking about painting composition as photographic composition. The Grand Canyon is possibly an entirely different animal because of its size - and I've always considered something more conceived as a stage set.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Ive swum in that pool with his dogs running around the edge ,Stanley and boogie
There're exceptions as always with great artists, with Matisse i can see the world through a window cause there's no bounderie from inside/outside, magician.
The artist wants his audience to participate in his work as a whole and not just see a tiny part of the framework as a small portion encapsulated with line,working within the restraints of a set size is easier on a large canvas in this respect,but practically speaking it is a luxury that most artists never aspire to,it all helps the immersion into the painting and disregarding the edges.
😍
Key on the Hole, eyes on the window, to be in it... si simple
Is he saying good composition lies in using the edge of the picture to give us lead ins to the middleground?
I think he's not so much talking about the middle-ground but composing a picture/photo with an eye to the edge rather than the centre
@@colugapictures7529 like in the grandcanyon painting where ypur eyes follow the edges around the picture? Does he have anh books or clips arpund where he talks about his landscape composition? Thanks for the previous reply too.
@@theronjerbell9528 I can't think of any one book or clip. My doc here focusses on his landscape, but I'd say DH is never one to present a how-to. @t
@@colugapictures7529 Sorry about the third question again here. So he is saying the edge of the picture is more of a focus then the middle? Using the grand canyon paintings as an example, in those paintings you follow the edges around the picture, with multiple 'vanishing points', and the middle grounds are stuffed into the foreground, all taken from different vantage points, and by doing this it that makes you look everywhere, like in real life?
Im sorry again but im am tranfixed by this idea. Theres an Australian Painter, Brett Whitley, he seems to do the same thing David does with multiple perspectives within a picture. Fascinating stuff.
@@theronjerbell9528 Bear in mind that he's not so much talking about painting composition as photographic composition. The Grand Canyon is possibly an entirely different animal because of its size - and I've always considered something more conceived as a stage set.