COMPOSITION (from OF., Fr. composition, from Lat. composi(io, connection, from compo ncre, to put together). In painting, that ordered arrangement of light and shade, of color and line, which shall directly impres-s the beholder with the thought and idea the artist wishes to express. The most important requisite of com position is unity. Every object must form a part of the whole, and be in distinct relation to the rest of the picture. As Millet said: "A work should be all of a piece, and people and things should be there for an end." Whatever their color or shape, all, objects in the picture should he seen under like conditions of light, shade, and atmosphere. There should be some object or objects of special interest, to which the remainder of the picture should be strictly subordinated.
The subject treated and the individuality of the artist usually determine the composition of a picture. There are, however, some generally accepted maxims in regard to linear composition which should be mentioned. The perpendicular line is one of dignity severity, and its pre dominance in a picture produces a simple, majestic effect (e.g. the early Italian portraits). The predominance of the horizontal line produces effect of repose or solemnity, as is seen in the composition of most landscapes. The flowing or waving line is the line of beauty and grace, and it is for this reason that the drawing of the human figure is esteemed so. important,.
There have been many theories of composition, more or less arbitrary. The Italians generally use the pyramidal composition, in which the Madonna forms the apex of the pyramid, with a balanced group of standing or kneeling saints on either side. As art advanced, they also used the oval composition, in which the figures form a circle on the eanvas (e.g. Ilaphael's "Madonna della Sedia"), the arch (Co•reggio's "Corona tion of the Virgin"), the diamond shape (Sistine Madonna), and others. In landscape the themes of composition were even more numerous. In modern composition there is greater freedom, the artist following his own inclination. Never theless, he usually leans 111)011 s0111e li,,hed principles. although he may not be con scious of then), since analysis is the work of the critic rathets than of the artist. Millet is an excellent example of a free and original method of composition in the modern sense. Consult: Van Dyke, J. C., Art for .10's Sake (New York, 11101); Blanc, (Iran( maim. dew arts de dessin ( Paris, 1882 ) ; Burnett, Practical Treatise on Painting (London, 1880).