Question ...

Is there a structure for pictures or indeed all art forms that is more favourable to the viewer ?

Answer ...

The Egyptians, the Greeks, the Romans they apparantly thought so and certainly incorporated this idea into their architecture

and so did your humble author when, some twenty years ago he set out on a great adventure to prove it.

It may be noted that although the ideas are for 2 dimensional objects they can easily be applied to 3 or 4(time) dimensional projects.

 

Measuring what already exists ....

 

This began with an analysis of the ratios of paintings from several different collections and the results can be seen in the analyses section (return to table of contents )

Your author paid special attention to both Rembrandt and Leonardo Da Vinci since they painted what were ostensibly the same pictures several times Leonardo probably with the same financial motivation as myself , and Rembrandt i suspect for aesthetic purposes.

It is also thought that the Dutch school notably Pieter de Hooch used Fibbonacci series in the construction of courtyard scenes and that he may have in doing so influenced the pictures of Vermeer.

Subsequently your author then tried this technique on the analysis of particular schools and specific collections

these being the pre-Raphaelite school who showed a lot of variation visualy in type .. and the Wallace collection which contains a predominance of fine French paintings.

The results of these may also be seen in the analysis section.

 

Conclusions based on what already exists ....

There are indications of universal preferences for particular ratios and structures. These may have been influenced by the location of the paintings .. ie did they look fit with the room they were in ...or by the commonly available materials eg stretcher sizes ..canvas etc ..

but assuming that there is no reason to suppose that on a large sample over a long period of time (hence choosing the almost unparalleled National Gallery collection ) that these possibilities would be less evident.

Further there is an implicit assumption that these paintings are "favourite" by being selected to be in a particular collection.

This is probably strongly predjudiced by relevance to the viewer as the author subsequntly discovered ie the psychology of the image , however all these limitations mentioned above leave scope for further investigation and discovery of the real truth

This is only a first iteration and a crude first step on the road to understanding the nature of the variables involved .. but it is a start !

Trying out new concepts

If you return to the index the next part involved trying out some new ideas. Sadly your author is debilitated by Artists block

and has been unable to produce the volume of work required to justify some of his new ideas statisticaly but hopes that the reader will enjoy participating in the concepts or that it will encourage them to develop something better.