The Role of Style in Composition: type 1: from linear to painterly

Session One: General

These notes provide some information if you have missed a class but the notes are not intended to replace class discussion. The following topics list, highlight the main concepts to be covered over the next twelve sessions.

1.1 Five Categories of Stylistic Development

1   from linear mode to painterly mode
2   from plane to recession
3   from closed to open form (Pictorial Space)
4   from multiplicity to unity
5   from absolute clarity to relative clarity

Each style category is composed of two concepts. No one of the above style category is better or worse than any other - they are just different. Some people are capable of appreciating all five styles others one or one concept within a category, and some appreciate none.

Each style category should be viewed as a sliding scale between the two concepts within the style category. An artist using style category no. one for example may apply 100% linear mode and 0% painterly mode or any proportion in between the two style concepts within the category.

More complex styles can and do incorporate more than one style category in the work. We will take a closer look at each style beginning with the following:

1.2 From the Linear to the Painterly Mode

The linear mode (I use mode in the scalar sense of range of things, actions, ideas etc.) is used to interpret what we see in terms of contours or outlines of objects. It deals with boundaries and the self contained individuality of objects. The eye of the viewer finds the drawn or painted edges of objects to be the primary source of information concerning the identity and features of the object.

See example paintings below:

The painterly mode stresses the masses and volumes of things. Boundaries are of secondary importance. Objects loose their individuality and merge into groups rather than having their separateness stressed as in the linear mode. The viewer examines the subtle textural and tonal variations within groups of objects rather than exploring the contours of each object to obtain information about separate features. The painterly mode is considered a more relational approach to composition although the linear mode uses relational attributes of similar shape texture and colour to build a unified composition in which the eye moves from area to area stopping in each one. Medieval painting uses the linear mode within the theory of enclosures. Each part of the painting's design is surrounded by a contour; hand, harm, hair, face etc.

In the linear mode the eye moves from area to area (like the eye moves from apple to apple etc.) making us aware of the separateness and stability of objects as expressions of being frozen in time - never ageing. In the Painterly mode the eye moves more easily from area to area through less restrictive boundaries with more focus on the interior of the areas in which the eye roams as each has a similar quality that merges and shifts into a visual eye experience that moves over the painting. There is a certain comfort or feeling of security in the linear mode as opposed to the less definite freer relaxed painterly mode.

It can be argued that the linear style satisfies the center of our eyes which are attuned to detail whereas the painterly satisfies our peripheral vision which provides a more general ever merging view of objects.

This might be an appropriate point at which to introduce a discussion on how our brain processes visual information through the suspension of time passage. Focus on an object a few feet away; move your eyes to another object to the right or left. Your brain captures an image of the first object and as you move your eyes to the second it keeps that image until your eye movement stops and you focus on the second object. That is why in most cases you do not experience a blur when moving your eyes from object to object.

Linear and painterly as separate and merging styles within the style category may also be interpreted as representing the interaction of formal and emotional modes of thinking.

This brings us to the concept of styles as a means of organizing our perceptions from the outside world which are then projected through personal selective view points of interest that express our inner world. This emotional aspect of art manifests itself in countless arguments between artists and art lovers as to the one and only true style. Discussions of this sort are not part of our enquiry.

Finally it is the style that determines how much the viewer will participate in the painting. The extreme linear style allows no imaginative participation on the part of the viewer but demands passive admiration for the artist's display of skill.

The painterly style invites the viewers imagination to complete the construction of the subtly rendered forms - wandering with the eyes discovering and creating possible beginnings and endings. The use of both styles in the same painting invites an interesting balance between passive and active viewing.

1.3 Supplementary Information

We will study reproductions of paintings in terms of their stylistic content and make quick analytical sketches from them. Since we are only concerned with the overall composition small reproductions are adequate for our purpose.

Your main course reference book will be "Thoughts on the North" a selection of paintings by Quebec artist Bruno Cote. This book is included in your materials fee and belongs to you. For secondary in class only reference material I will use the 2004 Group of Seven Calendar. Naturally you may bring in selections for class discussion as well as your own art work.

1.4 Exercise

Homework assignment: page 6, prepare a text and or illustrated analysis for next class of "Rough Coast", British Columbia. Structure your analysis into comments on: 1) foreground; 2)middle ground; 3) background / sky; 4) painterly; 5) linear; 6) tonal structure; 7) eye movement. Prepare to discuss your analysis in class.