This document discusses compositional theories of art including the rule of thirds, golden rectangle, leading lines, lines of sight, strong diagonals, point of view, framing, simplifying, filling the frame, and active space. It provides examples of how various artists have applied these principles in their own works. The goal is to analyze compositions using these established techniques.

1. Compositional Theories of Art
Composition: An orderly
arrangement of elements using the
principles of design.

2. Rule of
Thirds
Imagine a grid
that splits the
frame into thirds
both vertically and
horizontally. Place
the subject along
those gridlines.
The intersections
of the lines are
especially
compelling places
to position your
subject.
The Biglen Brothers Racing (1873) Thomas Eakins

3. Rule of
Thirds
Imagine a grid
that splits the
frame into thirds
both vertically and
horizontally. Place
the subject along
those gridlines.
The intersections
of the lines are
especially
compelling places
to position your
subject.
The Biglen Brothers Racing (1873) Thomas Eakins

4. The Golden
Rectangle
Based on the
Golden Ratio,
aka the Divine
Proportion, a
mathematically
developed
formula,
observed often
in nature and
applied to
architecture and
in art.

5. The Mona Lisa (1503-1519) Leonardo da Vinci

6. The Rule of
Odds
Having an odd
number of things
in a composition
means your eye
and brain can't
pair them up or
group them
easily. There's
somehow always
one thing left
over, which keeps
your eyes moving
across the
composition.
Portrait of Charles I, King of England (1635-1636) Anthony van Dyck

7. Leading
Lines
Lines that
guide a
viewer’s eyes
around, or
through, the
artwork are
called leading
lines.
Provencher’s Mill at Moret (1883) Alfred Sisley

8. Strong
Diagonal
A strong
diagonal is a
form of a
leading line. It
can transform
a boring
composition
into a dynamic
one.
Portrait of Dr. Gachet (1890) Vincent van Gogh

9. Lines of Sight
Lines of sight
are created
when the subject
is looking at
something
within the
painting. It
causes the
viewer to follow
the line of sight
to the object
being observed.
Christina’s World (1948) Andrew Wyeth

10. Point of View
Art does not
always need to
be depicted at
eye level.
Moving the point
of view above, or
below, the
subject can
create a more
interesting,
dynamic piece of
art.
Tree Trunks (1821) John Constable

11. Framing
One way to make
your subject
stand out is by
creating a natural
frame within the
composition. The
frame helps draw
the viewer’s eye
to the main
subject. Framing
can also be used
to create a sense
of depth, or to
provide a context
for the artwork.
Noli Me Tangere (1440-1441) Fra Angelico

12. Simplify
Try to
eliminate
unnecessary
items from
your
composition –
they will only
distract the
viewer.
Colour Beginning (1819) Joseph Mallord William Turner

13. Fill the Frame
It is not always
necessary for
the entire
subject to be
included in the
composition.
Sometimes it is
more effective,
and interesting,
to crop the
edges of your
main subject.
Pineapple Bud (1939) Georgia O’Keeffe

14. Active Space
It is important
when you are
depicting action,
that you leave
space between
the side of the
frame and the
subject. If you
do not do this,
the artwork will
feel unbalanced.
The Walk to Work (1851) Jean-Francois Millet

15. Composition
1. Rule of Thirds
2. Golden
Rectangle
3. Leading Lines
4. Lines of Sight
5. Strong Diagonal
6. Point of View
7. Framing
8. Simplify
For the next 10-15 minutes, analyze this
work of art in terms of the compositional 9. Fill the Frame
theories you see. 10.Active Space
Chair Car (1965) Edward Hopper