Movement in composition

Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement

- MITCHELL ALBALA

Landscape composition is a subject with many moving parts. For example, we have to consider several forms of variation, such as intervals (the “pacing and spacing” between elements), and differences of size and visual weight – all of which add interest to the visual tapestry. We also have to consider the “picture window” – the rectangular paper or canvas that determines what will be included in our composition and what will be left out. Of the many aspects of composition, however, the one that brings the most dynamic quality to a painting is movement.

Movement is what animates a composition and brings it to life. Our eye remains active and engaged as it moves around and through the picture. Only a blank surface, absent of any mark or shape, would have no movement at all. But as soon as we add shapes and colours and lines, our eye naturally begins to find pathways and seek connections between elements. Movement in landscape painting may be fast or slow, strong or gentle, steady or halting, but it is always desirable.

One criterion for selecting a subject is whether it suggests enough movement. The good news is that most subjects have obvious pathways of movement. Our job is to notice them and make sure we include them in our composition.

If our subject doesn’t seem to have enough movement, we must look for ways to amplify the movement – by slightly shifting elements around or modifying colours and values to accentuate an edge or contour. If we still can’t find adequate movement, then we should consider finding a subject that offers more.