Compozitia in artele vizuale

In pictura, grafica, fotografie si sculptura, compozitia este organizarea

elementelor vizuale; evident, nu este acelasi lucru cu subiectul operei
respective.
Este o componenta extrem de importanta a formei artistice:
- da unitate operei
- ierarhizeaza elementele operei
- le supune ideii autorului.
Rezolvarile compozitionale in arta vizuala au legatura cu
- distributia obiectelor si figurilor in spatiu
- stabilirea relatiilor intre volume, umbra si lumina, pete de
culoare, etc.
Abordata ca practica si ca reflectie in momentul realizarii imaginii,
compozitia este si parte a analizei unei imagini deja existente.
Compozitie inseamna asamblare, punere impreuna. Adesea se folosesc
termenii design, forma, ordine vizuala, structura formala.

Elementele limbajului plastic:

-punct
-linie
- permite artistului sa directioneze ochiul privitorului. Desi in natura
cu greu gasim linii, privitorul tinde sa le desluseasca in aranjamentul
continuu al elementelor vizuale.
- contribuie la perspectiva lineara si ajuta la crearea impresiei de
adancime spatiala.
-liniile oblice dau senzatie de miscare.
-liniile angulare dau senzatie de dinamism si tensiune.

-liniile directioneaza atentia spre centrul de interes al imaginii

-liniile contribuie la organizarea imaginii, divizand-o in sectiuni
- unghiul si dimensiunea unei linii in raport cu cadrul influenteaza
expresia, atmosfera imaginii
-liniile orizontale dau adesea impresie de calm si spatiu.
-liniile verticale dau impresie de inaltime, maretie.
-punctul de vedere al privitorului este extrem de important. El e
sugerat si cu ajutorul liniilor si unghiurilor. Schimband cu cativa
centimetri sau cu cateva grade perspectiva, se poate schimba total
expresia, atmosfera, sentimentul pe care il transmite imaginea.
-liniile curbe sunt in general mai placute, asociate cu flexibilitatea
-culoarea, valoarea, repetitia influenteaza perceptia liniilor in
imagine.
-forma plana zone (geometrice sau organice) delimitate in cadrul
imaginii si proportiile lor
-forma volumetrica realizata prin umbre
-culoarea tente, cu intensitati si saturatii diferite
-valoarea gradul de luminozitate a culorii
-textura calitati ale suprafetei care se percep ca perceptii tactile
-spatiul cel ocupat de obiecte (pozitiv), sau cel dintre obiecte (negativ)
-adancimea (perspectiva) distanta perceputa de la privitor, separata in
planul I, fundal si planuri mijlocii
-forma cadrului (dreptunghi, patrat, cerc) si proportiile sale
-directia itinerare vizuale orizontale, verticale, diagonale

Principii compozitionale
-unitate in varietate
-varietate in unitate
-centrul de interes zona din tablou, punct
-obtinut prin: - directionarea liniilor
- distribuirea calculata a maselor (gol- plin)
- miscarea, pozitia personajelor
- proportionarea, gruparea elementelor
- este foarte rar centrul geometric al
tabloului!

Pieter Bruegel cel Batran

(1520-1569) Adoratia magilor (1564), National Gallery, Londra.

Francisco Goya (1746 1828), El tres de mayo de 1808 en Madrid,

1814, ulei pe panza, 268cm 347cm, Prado, Madrid.
Centrul de interes aici e determinat de lumina, de miscarea
puscasilor.
Aceasta lucrare nu are precedent; este una din primele picturi moderne.
Dupa Kenneth Clark, este prima pictura revolutionara in toate
sensurile cuvantului, in stil, subiect, intentie.
A inspirat o serie de Edouard Manet si Guernica si Masacrul in Corea
de Picasso.

Edouard Manet (1832-1883), Executia imparatului Maximilian, 1868

69, ulei pe panza, 252 x 305 cm, Kunsthalle Mannheim.

Edouard Manet, Executia imparatului Maximilian, 1867, ulei pe

panza, 195.9 x 259.7 cm, Museum of Fine Arts, Boston.

Edouard Manet, Executia imparatului Maximilian, 1867, ulei pe

panza, 48 x 58 cm, Ny Carlsberg Glyptothek, Copenhagen.

Edouard Manet, Executia imparatului Maximilian (1867-68), ulei pe

panza, National Gallery, Londra.

Mannheim

Boston

Copenhaga

Londra

Pablo Picasso (1881- 1973), Masacru in Corea, 1951, ulei pe lemn,

110 cm x 210 cm, Muse National Picasso, Paris.

Hans Memling (1430-1494), Martiriul Sf. Sebastian, ulei pe lemn, 67 x

68 cm, Muses Royaux des Beaux-Arts, Bruxelles, Belgia.
2 centre de interes: Sfantul si arcasul din prim plan.

Hieronymus Bosch (1450 1516), Gradina placerilor lumesti, 1504,

ulei pe lemn de stejar, 220 x 389 cm, Museo del Prado, Madrid.
-multiple centre de interes.

Principii compozitionale - continuare

-forma si proportie
-pozitionare/orientare
-echilibru/armonie dintre elemente
-campul vizual (decupajul imaginii); marimea imaginii in raport cu el
-spatiul negativ (neocupat)
-directia
-culoarea
-lumina
-contrastul

-sectiunea de aur
-poarta armoniei
-ritmul (repetitie, dar nu numai: alternanta elementelor tensionate cu
cele relaxate s.a.)
-perspectiva

Reguli clasice
Sectiunea de aur

Un dreptunghi de aur (roz) cu lungimea a si latimea b, plasat langa un

patrat cu latura de marimea a, va produce un dreptunghi de aur similar cu
lungimea a+b si latimea a.

=1, 618

Regula treimilor ( varianta mult simplificata a portii armoniei)

Imaginea e impartita in trei zone verticale egale. Se evita impartirea in 2
parti a imaginii.

Pe stanga, zone inchise la culoare, pe dreapta, cele luminoase.

Seamana cu sectiunea de aur, simplificata.

Giovanni Antonio Canal, zis Canaletto, 1697 1768, Venetia, Piata

San Marco, 141,5204,5 cm, ulei pe pnza, muzeul ThyssenBornemisza, Madrid.

Compozitie dupa schema poarta armoniei.

Piero della Francesca (1415-1492), Flagelarea lui Hristos, 1455-1460,

ulei si tempera pe lemn. 58,4cm x 81,5cm, Galleria Nazionale delle
marche, Urbino.
Aici vedem regula poarta armoniei ??? sau sectiunea de aur?

Liniile de forta
https://www.latoilescoute.net/composition-les-lignes-de-force
Sunt linii care organizeaza spatiul tabloului si contribuie la echilibrul
imaginii.
Sunt axe trasate real in imagine (linia orizontului), sau virtual, prin
lectura planurilor si maselor colorate (limite ale contrastelor, zone de
lumina, etc).
1. Piramida: stabileste o ierarhie.
2. Orizontalele, verticalele, oblicele: ajuta sa se dispuna motivele;
exprima sentimente, creeaza sau aplaneaza tensiuni,
3. Vidul si plinul: se pun in valoare reciproc. Vidul are functie de
tacere.

Jacques Louis David, Juramantul Horatiilor, 1784, ulei pe panza,

329.8 cm 424.8 cm, Luvru, Paris.

Paul Czanne (1839-1906), Sticla cu menta, 1893-1895, 65.9 x 82.1 cm,

National Gallery of Art, Washington, USA.
Vezi sectiunea de aur: pe verticala, e marcata de linia orizontala din
fundal; pe orizontala, sticla din stanga, paralela cu verticala din spatele
ei.

Compozitia Charles VII

Preferata de impresionisti:

Claude Monet (1840-1926), Gradina la Sainte Adresse, 1867, 98.1 cm

129.9 cm, ulei pe pnza, Metropolitan Museum of Art, New York.
Taind vertical tabloul in doua, se obtin in partea de jos doua patrate
egale sub linia orizontului.
Tehnica clasica a Academiei de Arte frumoase din sec. XIX.

Partea de jos e pictata in stil occidental (simtul adancimii), iar cea de

sus in maniera japoneza (bi-dimensionala).

Compozitie academica centrata

Se divizeaza formatul in 4 parti egale apoi se traseaza diagonalele
intregului si cele mici ale celor 4 parti; se obtine un romb. Tehnica
utilizata de David (1748-1825)-neoclasic, Gros (1771- 1835) neoclasic,
romantic, Courbet (1819-1877) realist.

Gustave Courbet (1819-1877), Inmormantare la Ornans, 1849-1850,

315 668 cm, ulei pe pnza, Muse dOrsay, Paris.
Formatul e divizat in parti egale.

Compozitia in elipsa

Giovanni Battista Tiepolo sau Giambattista Tiepolo (1696, Venetia

-1770, Madrid), Alegoria planetelor si continentelor, sketch, 1752, ulei
pe panza, 185.4 x 139.4 cm, Metropolitan Museum of Art, New York.
Inscris pe parti: EVROPA / AFRIC / AMERICA / ASIA
Figurile in grisaille pe colturi au fost facute in stucco de sculptorul
decorator Antonio Bossi.
Toate personajele sunt plasate pe cercuri sau elipse care se micsoreaza
spre Apollo, in centru.

Perspectiva
Un tablou se structureaza si pe perspectiva.

Camille Corot (1796-1875), Vedere asupra Florentei, 1835-1840, 51

73.5 cm , ulei pe pnza, Luvru, Paris: subiectul (orasul) e in planul 2,
culorile cele mai inchise si calde sunt in primul plan, culorile degradate si
reci in planul 3.
Tipuri de perspectiva :
-atmosferica prin degradarea valorilor catre departare.
-lineara prin linii
Article dtaill : perspective. (din regles de composition)

Regula celor 3 planuri

Se ordoneaza tabloul in 3 planuri succesive, cu subiectul in planul 2.
Principiu folosit in sec. XVIII de Watteau (1684-1721), Turner (1775
-1851), Constable (1776-1837) si apoi de impresionisti.
In planul 1 alb si negru, in 2-ocru, galben, verde ; in planul 3: bleu,
violet.

John Constable (1776-1837), Dedham Lock and Mill, c. 1818, Oil on

canvas, 70 x 91 cm, Tate Gallery, Londrav(?)

Traseul liniilor de forta si al diagonalelor

Poate fi preexistent (Piero della Francesca, Seurat) sau aplicat la
analiza, a posteriori.

Lumina
In pictura academica, lumina trebuie sa vina de sus din stanga, umbra
principala fiind jos in dreapta.
Courbet sparge aceasta traditie, dupa aparitia fotografiei.
Tehnica clar-obscurului consista in eclerajul violent al unei scene care
se petrece in penumbra sau intuneric; culorile sunt rupte in umbra.
(Caravaggio,Tintoretto, Rembrandt).

Caravaggio (1571-1610), Portretul Marelui Maestro Alof de

Wignacourt in armura, 1607, ulei pe panza, 195 134 cm, Luvru,
Paris.
Lumina vine din stanga sus.
Vezi GOOGLE images: Caravaggio

https://athanasiuscm.org/2014/08/05/caravaggios-beheading-of-st-johnthe-baptist/

Regula contrastului simultan

Culorile se potenteaza reciproc prin juxtapunere.
Folosita de impresionisti, cubisti, Delaunay, Duchamp, Warhol, etc.

Gradul de saturatie - Push and Pull

Esentiala in invatamantul lui Hans Hofmann, unde culoarea e
considerata in gradatie spre saturatie Regula contrastului de
intensitate.
"Color is a plastic means of creating intervals... color harmonics produced
by special relationships, or tensions. We differentiate now between formal
tensions and color tensions, just as we differentiate in music between
counterpoint and harmony." (Hans Hofmann)
Culoarea este un mijloc plastic de a crea intervale.armonice colorate
produse de relatii speciale, sau tensiuni. Facem diferenta intre tensiuni
formale si coloristice, exact cum facem diferenta in muzica intre armonie
si contrapunct.
Idei de baza ale lui Hofmann:

Hofmann a fost in contact la Paris cu Georges Braque, Pablo Picasso,

Fernand Leger si Robert Delaunay, care l-au influentat.
Hofmann a combinat uneori structuri cubiste cu colorit fauve, energie
expresionista si accente suprarealiste.
Hofmann considera ca artistul modern trebuie sa fie fidel suprafetei
plane a suportului.
Pentru a crea profunzime si miscare in pictura (ce numea "push and
pull" in imagine), artistul trebuie sa creeze contraste de culoare, forma si
textura.
Natura trebuie sa ramana originea artei; pastreaza o legatura cu lumea
obiectelor.
(sugestia miscarii, pulsul naturii vezi legatura cu muzica!)
Hofmann a spus odata "painters must speak through paint, not through
words."
Mijlocul sau principal de expresie e culoarea: "The whole world, as we
experience it visually, comes to us through the mystic realm of color."

Ideea Push and pull apare la exponentii

a) Scolii din New York

b) Tehnicii all over
c) Curentului Colorfield Painting
a) Scoala din New York: grup artistic (pictori, poeti si muzicieni) activ
la New York in anii 1950-1960; se inspira din miscarile de avangarda,
mai ales din action painting, expresionism abstract, muzica
experimentala, jazz, improvizatie literatura.
In muzica, John Cage e figura centrala. Apoi Morton Feldman,
Christian Wolff, La Monte Young (minimalist; a facut parte din grup o
scurta perioada de timp), Cornelius Cardew, Frederic Rzewski. Nu au
acceasi estetica, dar sunt grupati in jurul lui Cage.
Pictori: expresionisti abstracti: Jackson Pollock (1912-1956), Franz
Kline (1910-1962), Willem de Kooning (1904-1997), Mark Rothko
(1903-1970) devine exponent al curentului Colorfield Painting.
Artisti principali ai exprsionismului abstract:
Pictori:

Jane Frank (1918-1986)

Helen Frankenthaler (1928-2011)
Arshile Gorky (1904-1948)
Adolph Gottlieb (1903-1974)
Philip Guston (1913-1980)
Elaine Hamilton (1920-2010)
Franz Kline (1910-1962)
Willem de Kooning (1904-1997)
Knox Martin (1923-)
John Levee (1924-)
Joan Mitchell (1925-1992)
Antoine Mortier (1908-1999)
Robert Motherwell (1915-1991)
Barnett Newman (1905-1970)
Jackson Pollock (1912-1956)
Robert Rauschenberg (1925-2008)
Jean-Paul Riopelle (1929-2002)
Mark Rothko (1903-1970)
Anne Ryan (1889-1954)
Clyfford Still (1904-1980)
Waldemar Smolarek (1937-)
Louis Van Lint (1909-1986)
Laurent Jimnez-Balaguer (1928-)

Sculptori:
David Smith (1906-1965)
Richard Stankiewicz (1922-1983)
Mark di Suvero (1933)

b) all over= tehnica aparuta in pictura prin 1948. Se repartizeaza mai

mult sau mai putin uniform elementele picturale pe toata suprafata (all
over); el pare astfel sa se prelungeasca peste margini, ceea ce elimina
problema campului vizual.
Fiecare miscare a pensulei anuleaza precedenta si raportul acesteia cu
suprafata fondului. Tehnica inventata de Janet Sobel (1894-1968),
pictorita americana de origine ucraineana.
All-over painting se refera la tratarea nediferentiata a suprafetei:

Janet Sobel (1894-1968), bunica dripping-ului

http://www.haberarts.com/sobel.htm

Jackson Pollock si drippingul.

Jackson Pollock

Mark Tobey si automatic writing sau caligrafia abstracta.

Mark Tobey, Celebration.

All over nu este un current sau un stil.
Unele picturi din Color field painting sunt facute all over. Nu au susjos, dreapta-stanga, centru de interes.

Cy Twombly (1928-2011).
Elev al lui Franz Kline, Robert Motherwell, Ben Shahn.

c) Colorfield Painting
Stil de pictura abstracta din New York in anii 1940 - 1950.
Inspirat de modernismul European si legat de expresionismul
abstract.
Caracterizat in primul rand prin zone mari de culoare, care creeaza
suprafete plane. Accentul cade pe gest, pensulatie, in favoarea unei
consistente generale a formei.
Culoarea paraseste contextul obiectiv si devine subiectul in sine.
Referinte la peisaje, natura, dar si modele geometrice.
https://en.wikipedia.org/wiki/Color_Field

Kenneth Noland, Beginning, magna (tip de acrylic) pe panza, Hirshhorn

Museum and Sculpture Garden, 1958.

Mark Rothko, No 61, 1953, ulei pe panza, 292.74 cm 233.68 cm,

Muzeul de arta contemporana, Los Angeles.

Clyfford Still (1904-1980) 1957 D1, 1957. (Expresionist abstract).

http://www.ac-orleans-tours.fr/artsappliques/docs/analyse%20d'oeuvre
%20synthese.pdf
http://colorbay.com/composition.htm

Elements of Compositional Painting

Importance of Composition
Composition is the selective arrangement of elements in a painting. That is
commonly broken up into elements of compositional painting how to lead the eye
in to a painting, and retain interest in the subject matter. Students make preparatory
sketches, shading in the main masses as they appear in the prevailing light conditions.
They experiment until they find an arrangement that seems novel, balanced and
pleasing.
Fine. But composition in fact entails more than just arranging the bowls of fruit,
drapery, etc. that make up the still life. It means deploying all the painterly
elements, getting them to work together.
And work towards some end, for some purpose. All hangs on what the painter intends.
Devotional painters of the High Renaissance, for example, generally arranged the
figures of Madonna, child and patrons in a pyramid, a composition that evoked a

reassuring sense of solidity and repose. In contrast, Degas's figures

often look to be walking out of the picture altogether, the
intention being to capture the animation of the everyday Paris
scene.

Elements of Composition
Leaving intention aside for the moment, what are the elements of
composition in a painting? A brief listing might be:

Space: several forms, including:

-illusionist: created with linear perspective, aerial perspective (distant objects lose
contrast and detail), size (far away objects are smaller), overlap (near objects obscure
those further away).
-two dimensional: objects are deformed into and modeled on the flat surface of the
canvas: Cezanne and much modernist painting.
-flat patterning: objects are shown as decorative theater flats, without linear
perspective: Persian miniatures and some medieval western painting.
-oriental: a palpable sense of emptiness, with objects as it were coalescing out of this
emptiness: traditional Chinese landscapes.
-self-created: act of painting creates its own sense of space, which is localized and
not predetermined: some modern art.
-primitive: objects are randomly distributed, with no immediately obvious controlling
feature: primitive, naive and children's art.
Shape: Areas closed off by line, or differences of tone, texture
and color.
Shapes have an abstract quality, and are often regarded as
positive (enclosing recognizable objects in the painting) or
negative (areas left between or around recognizable objects).
Shapes interact, and independently evoke sensations of repose,
agitation, purposeful energy, direction, etc.
Line: Lines enclose forms, and mark either edges where two planes intersect, or the
bounding contour of an object seen against a distant background. More than shapes,
lines have an authority of their own, creating movement, integration and texture.
Tone or value (valoarea) is the degree of light or dark in an element. Unless the
work is a drawing, or employs only grays, tone also enters into the qualities of a color,
along with hue and purity. Tone may create mood (e.g. dark tones for threat or
mystery), drama (wide tonal range) or emphasis (highlighting the object of interest).

Texture is the visual patterning, and may be abstract (the fluidity of glazes or
watercolor) or informative (a silk dress looks very different from one in satin). In the
absence of other features, texture may help to create pleasing diversity, to focus
interest, and/or impose a necessary unity on the work.
Hue (tenta) is the color itself, the specific wavelength. Colors create complex
physiological and psychological effects in the viewer, and hues are therefore a
primary means of obtaining or enhancing the emotional impact of a work.
Color Purity (saturatia) refers to the vibrancy and intensity of a hue, its freedom
from admixtures of other hues. Pure colors are colors of a single wavelength, and
have the dazzling clarity of stained glass windows i.e. quite unreal, to be used with
the greatest caution. But the infinite gradations possible, combined with tone and
hue, makes color purity an expressive device in the hands of a sensitive and
experienced painter.

Deploying: Aims of Composition

How are these elements of compositional painting to be deployed? To create the effect
desired, of course, but how does the painter go about that? Again it depends on
what's being aimed at, experience, how adventurous the painter wishes to be. But one
thing is clear: there is no infallible recipe. Few of the elements can be used in
isolation, and the painter is continually pushing one element and then modifying it in
the light of unexpected effects in others. Painting is a dialogue, between what the
painter hopes for, and what the work is currently displaying. That obvious point
needs to be remembered in the following summary of compositional aims. These are
not comprehensive, or exclusive, and will only make sense after
extended study of actual paintings and/or through practical
experience of painting.
Unity: Elements should be integrated so that the picture has an
overall unity, with nothing left isolated or out of account.
Proportion: The golden section (0.62 to 1) is still useful, but by
proportion is generally meant a pleasing relationship in proportions of one element
to another.
Balance is closely related to proportion, but is usually applied to shapes and masses,
which can be symmetrical, asymmetrical, or indeed anything that still somehow
seems to be in balance.
Harmony: A peaceful coexistence of elements, if that is wanted, or at least a sense
that the elements aid some coherent intention of the artist.
Variety: Differences in tone, color, shapes, etc. create visual interest, and this variety
strengthens a painting if not pushed too far.
Contrast: Juxtaposing wide differences in elements create emphasis, essential if the
painting is to have focus or make a statement.

Movement: The viewer's eye is drawn round the painting by the individual life and
vitality of the elements.
Repetition: Properties that are repeated, usually with slight modifications, or in
different elements, give emphasis and unity to a work.
Rhythm is repetition of elements, but at some constant interval (DISCUTABIL!
Se pot crea sincope, pauze, etc) more difficult to achieve than repetition, but more
powerful.

Practical Hints
A few suggestions:

A few suggestions:
1. Research possibilities by studying recognized masterworks, and making your
own exploratory sketches.
2. Establish the full range at the outset in tone, color, contrasts, etc. either on
the canvas itself, in sketches, or at least on the palette.
3. Once started, work the painting as a whole.
4. Go from the general to the particular, laying in the broad shapes and tones
before attending to details.
5. Stop at convenient intervals and take stock of achievements and possibilities.
View in a mirror and upside down to spot mistakes.
6. Make exploratory studies throughout the painting process.
7. Be sensible, but don't shy away from unexpected difficulties: overcoming them will
push your work in new directions.
8. Take photos when really stuck, and analyze the images with a computer graphics
program, rearranging elements to explore radical changes.
9. Try always to finish a painting, however bad: you will learn more from mistakes
than those golden periods when everything goes well.

References

Composition is fundamental, and these references add flesh to the above notes:
1. Basic Landscape Composition by L. Diane Johnson. Simple introduction to the
elements of composition, with helpful diagrams.
2. Composition. StudioCodex. Basic elements.
3. Composition and Design Elements, Principles, and Visual Effects by Marvin Bartel.
Goshen Art College. 2010.
4. The 8 Elements of Composition by Marion Boddy-Evans. About.com Guide. With
links to other useful pages.
5. 9 Steps to Creating Better Compositions by 'Dan'. Empty Easel. Simple
suggestions.
6. Composition of Outdoor Painting by Edgar Alwin Payne. DeRus Fine Art Books.
1995. Classic 1941 text by noted Arizona Neo-Impressionist. Now with added plates
and addenda by Evelyne Payne Hatcher.
7. Composition in Art by Henry Rankin Poore. Dover Publications. 1977.
Composition broken down systematically into clear diagrams. Thorough and with
helpful illustrations.
8. Artist's Guide to Composition by Frank Webb. With 170 color and 110 b&w
illustrations, this work deals with all the elements in turn: shape, line, space, tone,
texture, object size and color. David & Charles. 1997.

Rule of odds
The "rule of odds" states that by framing the object of interest with an even number of
surrounding objects, it becomes more comforting to the eye, thus creates a feeling of
ease and pleasure. It is based on the assumption that humans tend to find visual
images that reflect their own preferences/wishes in life more pleasing and attractive.
The "rule of odds" suggests that an odd number of subjects in an image is more
interesting than an even number. Thus if you have more than one subject in your
picture, the suggestion is to choose an arrangement with at least three subjects. An
even number of subjects produces symmetries in the image, which can appear less
natural for a naturalistic, informal composition.
An image of a person surrounded/framed by two other persons, for instance, where
the person in the center is the object of interest in that image/artwork, is more likely to
be perceived as friendly and comforting by the viewer, than an image of a single
person with no significant surroundings.

Rule of space
Main article: Lead room
The rule of space applies to artwork (photography, advertising, illustration)
picturing object(s) to which the artist wants to apply the illusion of movement, or
which is supposed to create a contextual bubble in the viewer's mind.
This can be achieved, for instance, by leaving white space in the direction the eyes of
a portrayed person are looking, or, when picturing a runner, adding white space in
front of him rather than behind him to indicate movement.

Simplification
Images with clutter can distract from the main elements within the picture and make it
difficult to identify the subject. By decreasing the extraneous content, the viewer is
more likely to focus on the primary objects. Clutter can also be reduced through
the use of lighting, as the brighter areas of the image tend to draw the eye, as do
lines, squares and colour. In painting, the artist may use less detailed and defined
brushwork towards the edges of the picture.Removing the elements to the focus of the
object, taking only the needed components.

Limiting focus
In photography, and also (via software simulation of real lens limitations) in 3D
graphics, one approach to achieving simplification is to use a wide aperture when
shooting to limit the depth of field. When used properly in the right setting, this
technique can place everything that is not the subject of the photograph out of focus.
The blurred background focuses the eye on the
flowers.

L'analyse de la composition picturale

Heinrich Wlfflin distinge, in 1915, 5 contrarii in principiile compozitiei
picturale:
-definitia formelor ca lineare (contur) sau picturale (suprafete)
-organizarea in planuri distincte sau in profunzime
-inchidere sau deschidere a formelor
-unitate sau pluralitate a subiectelor
-claritate absoluta sau relativa

Arnheims productive or generative idea was that the meaning of life and the world
could be perceived in the patterns, shapes, and colors of the world.[3] Therefore, he
believed that we have to study those patterns and discover what they mean.[3] He also
believed that artwork is visual thinking and a means of expression, not just putting
shapes and colors together that look appealing.[3] Art is a way to help people
understand the world, and a way to see how the world changes through your mind.[3]
Its function is to show the essence of something, like our existence.[1] Arnheims
writing and thinking were most important to him, and his goal was to understand
things for himself.[3] Arnheim maintained that vision and perception are creative,
active understanding, and that we organize perceptions into structures and form with
which to understand them.[1] Without order we wouldnt understand anything, so the
world is ordered just by being perceived.[1] Overall, he wrote fifteen books about
perceptual psychology and art, architecture, and film.[2]