How do artists position the key element of their composition? Is this choice random, or does it follow rules? I propose that a fruitful domain for studying key element framing is found in suitable serial works having a strong thematic homogeneity. What characterizes such series is that they might be regarded as variations on a theme by the same artist, allowing meaningful assessments of random variations while keeping other factors approximately constant. In this work, I report two studies on series originally inspired by 19th century Japanese prints (Hokusai's Thirty-six views of Mount Fuji) and later revisited, in similar form, both in later Japanese works and at the beginnings of the 20th and then 21st centuries in Europe. I call this database of images Thirty-six views of X. Results do not support framing according to a centring bias or to 'power' points or lines defined by known principles of composition, suggesting that key element framing shows an overall bias for moderate asymmetry, that this bias is modulated by individual and cultural differences, and that there may be an additional effect of print aspect ratio.

Thirty-six views of X: Variations on a Theme Reveal Individual artists Approaches to Composition / Bruno, Nicola. - In: ART & PERCEPTION. - ISSN 2213-4905. - 8:2(2020), pp. 158-174. [10.1163/22134913-bja10003]

Thirty-six views of X: Variations on a Theme Reveal Individual artists Approaches to Composition

Bruno,Nicola
2020

Abstract

How do artists position the key element of their composition? Is this choice random, or does it follow rules? I propose that a fruitful domain for studying key element framing is found in suitable serial works having a strong thematic homogeneity. What characterizes such series is that they might be regarded as variations on a theme by the same artist, allowing meaningful assessments of random variations while keeping other factors approximately constant. In this work, I report two studies on series originally inspired by 19th century Japanese prints (Hokusai's Thirty-six views of Mount Fuji) and later revisited, in similar form, both in later Japanese works and at the beginnings of the 20th and then 21st centuries in Europe. I call this database of images Thirty-six views of X. Results do not support framing according to a centring bias or to 'power' points or lines defined by known principles of composition, suggesting that key element framing shows an overall bias for moderate asymmetry, that this bias is modulated by individual and cultural differences, and that there may be an additional effect of print aspect ratio.
Thirty-six views of X: Variations on a Theme Reveal Individual artists Approaches to Composition / Bruno, Nicola. - In: ART & PERCEPTION. - ISSN 2213-4905. - 8:2(2020), pp. 158-174. [10.1163/22134913-bja10003]
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11381/2912502
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