In the statuesque group the outline is important because this is seen
against the background of wall, or sky, and frequently in silhouette. Any
fault in its contour as a mass is therefore emphasized. This
consideration applies pictorially to groups which are complete in
themselves and have no incorporation with backgrounds, such for instance
as the photographic group of a number of people. Here personality is the
first requirement, but harmony of arrangement and picturesqueness may be
united thereto. The two best shapes are the oval and the pyramid. In
either of these outlines there is opportunity for a focal centre, always
important. In forming such an arrangement the focus should be the first
consideration, item by item being added. As the group approaches the
outline it must be governed according to the form desired. A more
artistic combination of figures will be found to be a separation into a
large and a small group, the principal figure placed in either. If in the
former, the figures of the smaller group must be sacrificed to this
figure, either in pose or lighting. If the principal figure is in the
smaller group or entirely separate, this isolation will prove sufficient
for the distinction.
Where greater liberties may be taken and the intention is for a purely
artistic composition, the curvilinear S shape will be found a good line to
build upon. When this is too apparent a single oppositional figure will
destroy its formality.
The possibilities of the single figure as a reserve, kept to be placed at
the last moment where something is necessary, are worth noting. If the
group be too formal in outline, lateral arrangement, or expression, the
reserve may be played as a foil to create a diversion.
In all successful groups the principle of sacrifice must play havoc. Here
the artist should expect to pay for his art scruples. Rembrandt was the
first painter sacrificed to these instincts. When the order to paint the
_“__Municipal Guard__”_ came to him he saw in it an opportunity toward the
pictorial. Knowing what this entailed he persevered, despite the
mutterings of his sitters, the majority of whom were ill pleased with
their respective positions. When finally the canvas was finished, full of
mystery and suggestiveness and those subtle qualities, such as before had
never been seen in Dutch art, those for whom it had been executed
expressed their opinion by giving an order for the same to a rival. His
picture is a collection of separate individuals, each having an equal
importance. Here was the sudden ending of Rembrandt’s career as a painter
of portraits, only one canvas of an important group being painted
thereafter—the “Syndics.” A certain reason in this popular criticism
cannot be denied. The composition is unnecessarily scattered and the
placements arbitrary, though through the radial lines of pikes and flag
pole the scattered parts are drawn together. The composition partakes of
the confusion of the scene depicted, yet in its measure of parts one can
doubt not that the comparative values of his sitters have been considered.
The democracy of man in his freedom and equality is the despair of the
artist who knows that the harmony of the universe is conditional on
kingship and principalities and powers, and the scale of things from the
lowest to the highest.
Says Mr. Ruskin: “The great object of composition being always to secure
unity—that is, to make many things one whole—the first mode in which this
can be effected is by determining that one feature shall be more important
than all the rest and that others shall group with it in subordinate
position.”
Principality may be secured either by attraction of light as in a white
dress or by placing the figure as the focus of leading lines as are
supplied by the architecture of a building, or such lines as are happily
created by surrounding figures which proceed toward the principal one, or
by including such a figure in the most important line. Again the figure
for such a position may be the only one in a group which exhibits
unconcern or absolute repose, the others by expression or action
acknowledging such sovereignty.
The summer time out-of-door group which is so frequently interesting only
to “friends,” in many cases affords opportunities for pictures attractive
to all. The average photographer is concerned only with his people; the
background is brought to mind when he sees the print. Although little or
no interest may be found in the background it should be appropriate, and
should play a reserve part, serving the chiaroscuro and therefore the
illumination of the subject and creating an opportunity for the exit which
always gives depth and an extended interest. A mass of foliage with
little penetration by the sky except in one or two places and at the side,
not the centre, may always be found safe. If the attraction is too great
the group suffers. Appreciating the importance of his setting for groups
the photographer must select these with three points in view; simplicity,
uninterest and exit in background; simplicity, uninterest and leading line
or balancing mass or spot (if required) in foreground. When looking for
backgrounds he may feel quite sure he has one if it is the sort of thing
he would never dream of photographing on its own account. Besides being
too interesting, most backgrounds are inappropriate and distracting. The
frequent commendations and prizes accorded to good subjects having these
faults and therefore devoid of unity tell how little even photographic
judges and editors think on the appropriate and essential ensemble in
composition.
With the background in unobjectionable evidence the photographer should
rapidly address his posers a little lecture on compositional requirements
and at the end ask for volunteers for the sacrificial parts, at the same
time reminding them that the back or side _view_ is not only
characteristic of the person but often very interesting. He should
maintain that a unity be evident in the group; of intent, of line, and of
gradation. The first is subjective and must be felt by the posers. The
other two qualifications are for the artist’s consideration. At such a
time his acquaintance with examples of pictorial art will come to his aid.
He must be quick to recognize the possibilities of his material which may
be hurriedly swept into one of the forms which have justified confidence.
When a continuity of movement has been secured, a revisionary glance must
be given to determine if the whole is balanced; background, foreground and
focus, one playing into the other as the lines of a dance, leading,
merging, dissolving, recurring.
Mindful of the distractions of such occasions, the wise man has done his
thinking beforehand, has counted his figures, has noted the tones of
clothing and has resolved on his focal light. With this much he has a
start and can begin to build at once. His problem is that of the maker of
a bouquet adding flower to flower around the centre.
To make a rough sketch from the models themselves posed and thought over,
with the opportunity for erasures of revisions before leading them out of
doors, often proves economy of time.
It is a custom of continental painters to compose extensive groups and
photograph them for study in arrangement. The author has seen numerous
compositions in photography in which artists have posed as characters of
well-known paintings.
Much can be learned of good grouping from the stage, especially the French
stage. The best managers start with the picturesque in mind and are on
the alert to produce well arranged pictures. The plays of Victorien
Sardou and the classic dramas of the state theatre are studies in the art
of group arrangements.
It will be noticed in most groups that there is an active and a passive
element, that many figures in their reserve are required to play second to
a few. The active principle is represented by these to whom a single idea
is delivered for expression.
[Return of Royal Hunting Party--Isabey; The Night Watch--Rembrandt]
In “The Return of the Hunting Party” the group of hounds, huntsman and
deer is such an element of reserve, contrasting its repose with the bustle
and activity of the visitors. It is a diversion also for the long line
stretching across the picture. This is the more evident through the
repetition of it in the line of the second-story and roof and below in the
line of game which unnecessarily extends the group of hounds. A relief
for the insistent line of the figures could have been supplied by lighter
drapery back of the table. This then would have created a cross tone
connecting the hounds in a curve with the upper centre panel. It is a
picture in five horizontal strips, and is introduced for the warning it
contains in its treatment of a group which is in itself _a line._ The
well-known “Spanish Marriage” by Fortuny also shows the reserve group, but
the contrast is more positive both in repose and color. The main and more
distant group is well centralized and there is a clever diminuendo
expressed in its characters.
[Departure for the Chase--Cuyp (Background Compromising Original
Structure); Repose of the Reapers--L. L’hermite (The Curvilinear Line)]
In _“__The Reapers__”_ this idea has apt illustration. The figure in the
foreground is in contrast with the remaining three, both as an
oppositional line and in his action, the three being in repose. The
single figure, though active, does not attract as much as the child who
receives importance from the attention of the two figures. Her position,
opposed to the two, turns the interest back into the group. In all the
compositions by this master one is impressed by the grace and force of the
arrangement. A small portfolio of his charcoal reproductions or a few
photographs of his pictures should be a part of the print collection of
every artist. No better designer of small groups ever lived.
With the amount of good art now coming from the camera it is strange that
no groups of note have been produced.(12) In the field of _pure
portraiture_ the attempt may as well be abandoned. The photographer can
at best but mitigate conditions. The picture group can only apply when
sacrifice and subordination are possible.
A study of famous groups will settle this and other points mentioned,
beyond question. In the religious group, where the idea of adoration was
paramount, the principal figure was usually, though not always, given
place in the upper part of the picture toward which by gestures, leading
lines or directed vision our attention is drawn at once. Note the figures
which sacrifice to this effect in the “Transfiguration,” “The Immaculate
Conception,” “The Sistine Madonna,” “The Virgin Enthroned,” “The Adoration
of the Magi,” and in fact all of the world famous compositions of the old
religious art.
[The Decorative and Pictorial Group; Allegory of Spring--Botticelli
(Separated concepts expressing separate ideas); Dutch Fisher Folk--F. V.
S. (Separated concepts of one idea); The Cossack’s Reply--Repin (Unity
through a cumulative idea)]
In one of the most famous of modern groups _“__The Cossacks Reply to the
Sultan of Turkey,__”_ by the greatest of Russian painters Elias Repine,
the force given to the hilarious frenzy of the group by the occasional
figure in repose is easily apparent.
The answer to a summons for surrender is being penned upon a rude table
around which press close the barbaric leaders of the forces gathered in
the distance. Some are lolling on wine casks, others indifferently gaze
at the fingers of the clerk as he carefully pens the document, others
smoke silently, one is looking out of the picture as though unconcerned.
Yet life and movement are instinct in every part, for though the action is
consigned to but a few,—these form a series of small climaxes through the
entire circumference of the group and we feel in another moment that the
passive expressions will in their turn be exchanged for the mad ribaldry
of laughter which has seized their brethren. The group is a triumph for
several æsthetic realities produced and heightened by contrast and
subordination.
The principality of repose is well illustrated in the group of _“__The
Chant__”_ where the inaction of the woman dominates through its contrast
with the effort expressed by the other members of the group.
There are three types of group composition; first, where the subject’s
interest is centred upon an object or idea within the picture as in “The
Cabaret” or Rembrandt’s “Doctors” surrounding a dissecting table; second,
where the attraction lies outside the picture as in the “Syndics” or the
“Night Watch,” and third, where absolute repose is expressed and the
sentiment of reverie has dominated the group, as in “The Madonna of the
Chair,” and the ordinary family photograph.
The spiritual or sentimental quality of the theme should have first
consideration and dictate the form of arrangement. A unity between the
idea and its form of expression constitutes the desideratum of refinement
in composition.