Village

Water
Colored Painting
 


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Natella Gomtsian, Age 15, IV Form

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     One of the remarkable properties of our visual perception is that it extracts the most essential information from all visible varieties.
    An eye sees in general and entirely the whole and perceives in details only one of the observed objects.
    At this moment everything in the surrounding is comprehended in general.
    If the painting is a motley (gay) set of equal colored spots, contrasts, it loses its visual convincing.
By this reason the main is usually disposed near the optical center of the picture.
    It firstly allows the visual embrace of all the painting there and secondly takes the contents as a united whole.
    That object or that group of objects on which our attention is directed is clearly visible to us, but the rest are less distinct.
    The unity and the wholeness (entirety) must be included in any painting.
    There are main objects in a taught sketch or scenery which attract our attention, the others serve as a complement.
    The main objects must first of all astonish those who look at our pictures.
    The prominent works of paintings are descriptive examples that the wholeness of perception of the drawing is defined by coincidence of compositional and optical centers, where the spectator's eye catches the origin of the plot and gets the main information.
    The particularity of the center must correspond to not only to the peculiarities of visual perception but to the logic development of the contents.
     Thus the wholeness of the picture depends mainly on connection of all the elements of the painting which is determined by the presence of an optical center, by logic of the phenomena, and psychological interaction of personages.