We started our session on composition at the National Gallery by first returning to the Expresso Bar to look at Frank Auerbachs' interpretation of Rembrant's 'Belshazzars Feast' where you could clearly see a diagonal composition in his simplification. Then back to analyse Ucellos' 'Battle of San Romano', particularly the linear perspective with broken lances in the foreground leading you in. I love the design of the lances in this but chose not to draw it - wouldn't want to give Ian the false impression that I'm suddenly interested in battle scenes!
We played spot the vanishing point in Crivelli's 'Annunciation' before looking at the surface geometry in paintings by Veranesi and Tintoretto -very clear diagonal in 'The Origin of The Milky Way' (below)
After further examples from Poussin and Rubens and a reminder to look at the shape of the canvas in relation to the composition, we were set free. No sketching stools available this time so I stayed in the Rubens room (29) as it had reasonable light and leather sofas (ever the pragmastist!) After several thumbnail sketches of various pictures, I decided on Rubens
'Miraculous Draught of Fishes' for the waves and curves of the bodies. I had several attempts until I started to work out what was going on by which time it was 8.40 and time to meet up with the others. Tone next week then 'sustained drawing'.
I was in London this time last year and went to the National Gallery specifically to see "Annunciation". The room was roped off but I had a clear view of this marveleous painting. The perspective pulls you in and the detail keeps you interested.
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