We use threes in art to define structures like primary, secondary and tertiary colors on a color wheel. Sir Isaac Newton developed the first color wheel in 1666. The three Greek column classifications are Doric, Ionic, and Corinthian.
A giant tooth? A weirdly shaped bone or rock? Henry Moore’s chubby, one-ton bronze, poised on three delicate points, suggests different interpretations from different angles. Both prolific and highly respected, Moore has been called the most influential sculptor of the 20th century.
“Sculpture,” said Henry Moore, “should always at first sight have some obscurities, and further meanings.” His one-ton bronze on the Parkway is an example of such visual ambiguities. It may appear to be a massive, polished, three-pointed stone—and in fact Moore kept a similarly shaped pebble in his studio for years.
On the other hand, the bronze also looks like a weighty animal, with its three “points” like paws on which it delicately balances. Some have said that it resembles a hunched bird. From certain angles it even suggests a giant tooth or a gnawed bone. Whatever one’s first impression may be, the work changes as the viewer walks around it.
Philadelphia’s Three-Way Piece was purchased by the Fairmount Park Art Association in 1967 and installed in John F. Kennedy Plaza that year. In November 1990 the sculpture was relocated to a landscaped area along the Parkway.
Adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, Philadelphia, 1992).
There’s a lot of talent in this world. As with any opportunity, competition will be intense. And while it is true that you cannot teach talent, the key to success, as in everything, is preparation. In the Graphic Arts, it will be the kind of preparation that will help you enter the professional world with more than a portfolio, but with confidence and experience. The kind of preparation serious art students find here at Hussian.
Hussian students are aware of this world. They dream of the possibilities, excited about their place in it, but not the least bit intimidated. They possess a drive to create. They’re focused and self-disciplined. And they have talent.
If you are such a student–whether you have a polished portfolio or talent that has yet to be “packaged”–you owe it to yourself to visit. Sit in on a class. Talk with our students and the working professionals on our faculty. You may find a place where you can transform your art talent into a talent for change.
The Mysteries of the Horizon (1955) is an oil on canvas painting by the Belgian surrealist René Magritte.
The painting depicts three seemingly identical men in bowler hats. They are in an outdoor setting at twilight. Each one is turned toward a different direction. In the sky above each figure is a separate crescent moon.
Men in bowler hats have appeared frequently in Magritte’s work since his 1926 painting The Musings of a Solitary Walker. They are represented as having undefined or identical personalities.
The Town. Variant. Scenery sketch for N.Evreinov drama “The Three Magi”. 1907
Город. Вариант. Набросок декорации к мистерии Н.Евреинова «Три волхва»
Gouache, ink on paper mounted on cardboard. 28.5 x 34 cm.
E.M.Velichko collection, Moscow
“He constructed a sphere on which were plotted a double set of spirals representing color sequences. From this model grew the evenly balanced Munsell Color Sphere, which demonstrates the exact relations of Hue, Value and Chroma.”
Munsell Color Wheel Step 1 on the Value pole in the center is the darkest gray possible. Step 9 is the lightest white. Absolute Black and White are not practically attainable. This illustration does not purport to be a correct representation of color standards, but is intended merely to visualize the three scales in as graphic form as possible by a printed diagram.
This perspective diagram graphically illustrates the three dimensions of color used by the Munsell Color Chart for color measurement and notation.
The Rule of Thirds is based on the fact that the human eye is naturally drawn to a point about two-thirds up a page. Crop your photo so that the main subjects are located around one of the intersection points rather than in the center of the image:
Your landscapes will be optimally pleasing to the eye if you apply the Rule of Thirds when you place your horizon line.
If the area of interest is land or water, the horizon line will usually be two-thirds up from the bottom. Alternately, if the sky is the area of emphasis, the horizon line may be one-third up from the bottom, leaving the sky to take up the top two-thirds of the picture:
As you’re taking an image you would have done this in your mind through your viewfinder or in the LCD display that you use to frame your shot.With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image. Not only this – but it also gives you four ‘lines’ that are also useful positions for elements in your photo.
Before you snap the picture, imagine your picture area divided into thirds both horizontally and vertically. The intersections of these imaginary lines suggest four options for placing the center of interest for good composition. The option you select depends upon the subject and how you would like that subject to be presented.
One side of the picture is divided into two, and then each half is divided into three parts. The adjacent side is divided so that the lines connecting the resulting points form a diagonal frame. According to the Diagonal Rule, important elements of the picture should be placed along these diagonals:
Golden Section rule
t has been found that certain points in a picture’s composition automatically attract the viewer’s attention. Similarly, many natural or man-made objects and scenes with certain proportions (whether by chance or by design) automatically please us. Leonardo da Vinci investigated the principle that underlies our notions of beauty and harmony and called it the Golden Section. Long before Leonardo, however, Babylonian, Egyptian, and ancient Greek masters also applied the Golden Section proportion in architecture and art.
To get a clearer sense of these special “Golden” composition points, imagine a picture divided into nine unequal parts with four lines. Each line is drawn so that the width of the resulting small part of the image relates to that of the big part exactly as the width of the whole image relates to the width of the big part. Points where the lines intersect are the “golden” points of the picture:
English: Odin, Thor and Freyr or three Christian kings on the 12th century Skog church tapestry. Svenska: En framställning av Oden, Tor och Frej på bonaden från Skog i Hälsingland. 1000-talets slut eller omkring 1100. Date Late 11th century or early 12th century
Source "Svenska konstskatter. Från äldsta tider till 1900-talets början", page 17, published by Bokförlaget Forum, Stockholm, 1949. ISBN 9928860475
Description Three Graces
Deutsch: Die Drei Grazien
English: Three Graces
Português: Três Graças
Date c. 1504
Source Musée Condé
Author Raffaello Sanzio (1483(1483)–1520(1520))
Alternative names Raffaello Santi, Raffaello de Urbino, Rafael Sanzio de Urbino, Raffael
Description Italian painter and architect
Date of birth/death 6 April 1483(1483-04-06) 6 April 1520(1520-04-06)
Location of birth/death Urbino Rome
Work location Florence, Rome, Perugia
A triple portrait of Thomas Phillips, John Benbow, and Sir Ralph Delavall. It probably relates to British fleet operations against the north coast of France during 1692-93. The officer seated on the left holds a plan of fortifications, and is believed to be Thomas Phillips, the fleet’s chief military engineer. Highly distinguished, he was involved with John Benbow at the bombardment of St Malo. He wears a leather coat and breastplate with a red silk drape over his right arm. His portrait was probably painted in 1692-93 before the summer campaign of 1693 from which he did not return.
Three cows are resting with two shepherds in the shade of a tree. A sheep is depicted in the bottom righthand corner, while a goat appears behind the cows. As in many of these Italianate landscapes, the scene is lit by a low, evening sun. In the hazy distance looms the outline of the mountains.
Perhaps this was a landscape Nicolaes Berchem had seen in Italy. Even so, the picture was not drawn directly from nature. He borrowed two of the cows from a print made by Paulus Potter in 1643. Potter, who specialised in depicting animals, placed his cows in a typically Dutch landscape, while Berchem preferred a more southerly countryside.