A Quote by Robert Henri
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
Related Quotes
Good composition is like a suspension bridge - each line adds strength and takes none away.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
By having the big lines of the composition going out of the canvas, your imagination can wander beyond the edge. It will make it seem part of a large composition.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
I pay a lot of attention to composition in my art, and I will often shift myself or change a pose according to the golden triangle rule of photography composition.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
I may juggle the composition, as the strength of a picture is in the composition. Or I may play with the light. But I never interfere with the subject. The subject has to fall into place on its own and, if I don't like it, I don't have to print it
Improvising is writing, too - there was no music and now there's music. So that's composition. And any time you take any sort of a performance liberty, you're making a compositional choice. I don't know a serious performer who hasn't made compositional decisions, who hasn't engaged in the art of composition.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
The composition is the thing seen by everyone living in the living they are doing, they are the composing of the composition that at the time they are living is the composition of the time in which they are living.
When we look at a painting, listen to a piece of music, read a novel, or watch a movie we are taking in the artist's composition. The composition is the totality of the work.
I don't know what good composition is.... Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. There's a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness.
In the first quarter of the nineteenth century the experimental proof for the interdependence of the composition and properties of chemical compounds resulted in the theory that they are mutually related, so that like composition governs like properties, and conversely.
Everything must work in concert. Composition is important, but so are many other things, from content to the way colours work with or against each other.
My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation.
If I'm creating the composition, it's easier for me as an actor because I've just cut out the middle man. Because I've created the composition and now I'm in it, I already know exactly what I want to get out of it. So, bang!
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