Art Lecture - Composition And Negative Space
Seeing, charging and using negative space
Lets examine Picasso’s painting Guernica (1937) for compositional and various design elements. Aside from the power of the shapes (positive elements) there are more design elements to the painting that enhance the strength and impact of the work.
Color Use: The use of color is somewhat monochromatic. It had Sepias, Browns, Whites, Blacks, and perhaps Paynes Gray. This limited and somber palette added to the torturous imagery and the visual impact of the painting.
Values: A great range of values broadens Picasso’s limited use of color. There seems to be 19 to 20 values present within Guernica. With 0 being the lightest and 20 being the darkest. Another aspect of the values is how they are spread out over the painting. You almost find an equal proportion of each of the values over the entire image balancing the use of the values in the overall composition.
Compositional Path: Picasso created a “primary composition path” to lead your eye around the elements of the painting. Your eye seems to start in the lower left-hand corner where the powerful out starched arm and hand of the figure are. This element then carries your vision along the bottom of the painting to the distorted knee and foot of the woman. The angle of the woman’s shape and her pointing face leads your eye up to the left to the horse’s head. Your eye moves out of the horse’s mouth to the bull’s head and then down to the gaping mouth of the woman, then to the infant. Your eyes visual path is directed by the hand of the woman back to the head of the man in the lower left and then to the horse’s tail that leads your eye into the center of the horse. I have mapped out this compositional path in the diagram below.
Traditional compositions help the viewer to move around the painting in a planned path, always drawing ones attention to the main content elements of the painting. There are other compositional elements in “Guernica” that help you read this image the way the artist intended.
Shapes: In order for Picasso to create his compositional path in this painting he had to distort the shapes of his figures to help lead the viewer's eye around the canvas and into the center of the composition. An example of this distortion is seen in the female figure on the right. Her distorted leg/knee, stretched neck and face gazing upward, creates a path up to the horse. Another example is the horse’s saliva flying up towards the bull’s head almost like an arrowhead pointing the way.
Negative Space: Picasso's use of negative space is as powerful, as his use of positive space (the objects). In the example below the black areas represent the negative space and the white areas the positive space (objects). His use of negative space is so strong that it is almost equal to the positive space (objects). These interesting negative space shapes add an additional level of strength to the image.