A COMPOSITION PROBLEM
This is exactly what you will be doing when you try to find the best position for the model: solving a problem of composition and placement, determined by the shape presented by the model and by calculating the ideal proportions between the mass of tones that it forms and the space it occupies within the picture.
Let us use a few examples to make this easier to understand. First, consider the problem in its most general form. Study how it is presented in the illustrations on the following page.
The answer is difficult, as everything related to the art of composition is difficult. However, let us try to arrive at a solution to these questions by beginning with a simpler problem.
COMPOSITION IN HEAD PORTRAITURE
First, one must decide whether it is better to draw the model frontally, three-quarter view, or in profile, keeping in mind that the frontal and three-quarter positions are the most common.
At the same time, it is important to remember that the model’s head should have a movement different from that of the body, thus following Ingres’ advice. One should also consider whether the model slightly raises or lowers the head, tilts it to one side, or turns it to the right or left. Above all, do not forget to emphasize the characteristic pose of the sitter.
There is nothing more to say regarding the pose itself.
When we move on to placement, we must first determine the position of the head in relation to the height of the picture space. Should it be placed in the center, slightly above the center, or a little lower?
Here it is useful to know the following rule of artistic composition:
Because of an optical illusion, the visual center of a space is located slightly higher than its real or geometric center.
Only slightly higher, but enough so that if the tonal mass is placed at the exact mathematical center, the drawing will appear to be shifted downward. (Incidentally, in this case the tonal mass consists of the oval of the head, the neck, and part of the shoulders and neckline.)
Let us now consider the placement of the tonal mass in relation to the width of the picture space. Three classical solutions exist:
a) If the model is facing forward, the head should be centered.
b) If the head is in three-quarter view, it should be placed slightly off-center, leaving more space in front of the face than behind it.
c) If the head is drawn in profile, it should be displaced even farther from the center and likewise leave more space in front than behind.
Cases b and c are the most interesting because they demonstrate that one must leave more space on the side toward which the face is looking.
Ingres expressed this rule very clearly:
“For a face to seem alive and able to breathe, leave more space in front of it than behind it.”
Keep these two basic principles in mind when arranging a composition:
- Place the visual center correctly.
- Leave more space in front of the face than behind it.
These principles will be useful here and in many other situations.
COMPOSITION IN THE WAIST-LENGTH PORTRAIT
The question of pose becomes much more complex here.
When the model is seated, for example, you must consider that he may rest his hands on his knees, on the right or left thigh, cross his arms to a greater or lesser degree; the body may face forward while the head turns slightly to one side; or the body may be almost in profile while the head looks toward the viewer.
You may also imagine the model leaning slightly forward away from the chair back, standing upright while resting against it, reclining comfortably against it, bending over it, or at the same time letting the body fall toward the right or left side, and so on.
The possibilities are so numerous that it is difficult to give precise rules. I would simply advise you to study and determine the position of the head first, because it is essential from every point of view, since you are searching for the different positions of the body.
As an example, consider what Francisco Serra did during an initial session devoted to what we might call “questioning the model through drawing.”
(The illustrations reproduced on the following pages were made by him as preliminary studies for one of his many portraits. These drawings were executed in charcoal on ordinary sketchbook paper measuring 13 × 18 cm, with two sketches per page. Beyond the interesting search for an artistic pose, note the execution of these very rapid sketches, drawn almost without lifting the pencil, with the sole concern of framing and proportioning, selecting and drawing the essential forms of the body, while representing the head as a simple oval without detailing the features.)
FIRST SKETCH
Initial pose: the back of the chair is placed on one side of the model, who has his left arm passed over that chair back and his hands clasped together on the same side.
SECOND SKETCH
The position is identical, with a slight variation: the model leans farther back; he sits more comfortably and more of his waist is visible.
THIRD SKETCH
The position is practically the same, but reversed: the whole body, arms, and hands are now inclined and gathered toward the right side. The head, however, has retained the original position and faces forward.
FOURTH SKETCH
The chair back is less visible; the model has stood up and placed the chair more in profile so that his right arm remains closer to the body. (Compare this sketch with the preceding one, particularly the arc formed by the right arm.)
FIFTH SKETCH
“Let us continue searching. Please remove your arm and place your hands on your knees.”
The pose changes considerably. Even the head is no longer facing as directly forward as before. The contour and form of the face are more graceful than before.
(“…yes, but there is still that chair rail—can you imagine it mentally behind the face? …and that piece of skirt below… and the left shoulder that…”)
SIXTH SKETCH
There! It is perfect!
At first glance it may seem identical to the previous sketch. But look carefully: the left shoulder is slightly farther back, giving the neck an extraordinary line and movement; the left arm is also farther back and communicates a greater unity and continuity of form to the contour of the arms and body (compare this aspect with the previous sketch).
The chair rail and the lower part of the skirt have disappeared. The pose is better. The study is complete.
It is interesting to see that in these sketches the artist’s initial concern was the problem of placement.
Serra said on this subject:
“First I draw the cage; then I place the model inside it, making sure that it has neither too much nor too little space.”
This brings us to the other problem: composition and placement, fortunately much easier to solve.
First, one must remember the necessity of leaving more space in front than behind, as we have already seen on page 67 when discussing the drawing of the head.
Likewise, if the whole formed by the head and body is presented in three-quarter view, one must leave more blank space on the side toward which the model is looking.
One must also solve the balance between what could be called the model mass and the background mass.
The background should be considered as if it were another tonal mass competing with the mass represented by the model.
Look at page 71:
- In figure A, we see the model and the background.
- In figure 1, we see the mass formed by the shape of the model.
- In figure 2, we see the mass represented by the background space.
In figure B, the two masses are not in perfect balance: the model mass is much too small in relation to the background mass.
In illustration C, we find the opposite case: an enormous model mass, disproportionate to the background mass, creating a real imbalance of masses.
Practically speaking, there are not many precise rules for achieving this balance. It is something intuitive, guided by inspiration and, above all, by the habit of observing and studying masterpieces of art and their composition, educating one’s sensitivity, taste, and perception of what is well or poorly composed.
This intuitive knowledge may initially be based on the following advice:
To obtain a good balance of masses, one must avoid both excessive equality and complete disparity.
Excessive equality implies symmetry and the correspondence of certain parts with others. This may be suitable for some subjects and even certain portraits, but artistically it rarely produces strong results; such equality is generally monotonous, lacking originality, and sometimes overly solemn.
On the other hand, excessive disparity or difference leads, as we have already seen, to an even more harmful imbalance.
It is better to stay with a middle course, while giving slightly greater importance to the model mass than to the background mass, or vice versa.
