This photograph was taken in the House of an Art Lover, a house designed by Charles Rennie Mackintosh and his wife Margaret Mackintosh in 1901. The house was designed in order to win a competition that was brought forth by a German magazine.1 This specific room is the Music Room which has a simple design revolving around repetition and its main purpose is for recitals even though it is not like any recital hall ever seen before. The table and chairs in the Music Room are photographed in black and white so that the composition would be focused on instead of the color. The main compositional component in this photograph is the repetition of the chairs and the egg like shapes that are cut into the backs of the chairs. Even the simple repetition of the box shaped windows helps keep the viewer interested. Not only does this repetition keep the eye constrained in the photo but the repetition also done in odd numbers. The odd number of chairs keeps the viewer interested in the photograph because there is normally an even number of chairs surrounding a table and having only three makes the viewer wonder. As this photograph is read from left to right we follow the leading line formed from the tops of the chairs, but the viewer are blocked by the flower that sits on the table. The eye is then drawn back to the left and the viewer is still consumed in the photograph.
1 Glasgow City Council. Bellahouston Park. [Glasgow]: Glasgow City Council. Print.
The Kelvingrove Art Gallery and Museum contains everything from real Egyptian mummy to extremely contemporary pieces of art. Some of Charles Rennie Mackintosh’s work is even held in the Kelvingrove Art Gallery and Museum. These are the lights that hang above the main hall of this building. Though this photograph is not in black and white the composition is still very good. As the viewer reads from left to right his or her eyes are drawn to each of the bright glowing lamps. This brightness is a normal part of composition since the human eye is naturally drawn to the brightest or highest point. Once again the repetition of the lamps plays a big role in keeping the viewer invested in the photograph. The eye is drawn to the lamp that is closest to the viewer then they naturally read left to right. After reaching the last lamp the viewer realize that they have missed the lamp to the left of the one that first grabbed the viewer’s attention. The odd number of lamps keeps the viewer interested in the photograph just as in the previous photograph. The angle at which the photograph was taken allows for the actual boarder of the photograph to keep the eye from trailing off. The viewer hits the last lamp on the far right and then the darkness that is below and to the right of it creates that blocker along with the actual edge of the photograph.
2 Glasgow City Council. Kelvingrove Art Gallery and Museum. [Glasgow]: Glasgow City Council, 2006. Print.
This photograph was also taken in the House of an Art Lover but this time on the outside of one of the doorways. These lamps are very similar in style to some Japanese style lamps. Wisconsin architect Frank Lloyd Wright also used this same style in many of his buildings. Sticking with repetition, the eye is drawn from one lamp to the next but is stopped prior to reaching the final lamp. The side of the House of an Art Lover creates a blocker so that the eye is brought back into the picture instead of trailing off to the right since most people read left to right. The leading lines created by the tree line actually draw the eyes to the right as well but is once again stopped by the massive side of the house. The lamps in the photograph are not actually exactly the same, they are similar. The bulbs of some of the lamps are tilted and some of the posts are not centered underneath the canopies. These slight differences in lamps keeps the viewer engaged while the similarities create comfort. Just as in the other two photographs, the odd number of the repeated subject makes the viewer more interested in the photograph.
1 Glasgow City Council. Bellahouston Park. [Glasgow]: Glasgow City Council. Print.
The Kelvingrove Art Gallery and Museum contains everything from real Egyptian mummy to extremely contemporary pieces of art. Some of Charles Rennie Mackintosh’s work is even held in the Kelvingrove Art Gallery and Museum. These are the lights that hang above the main hall of this building. Though this photograph is not in black and white the composition is still very good. As the viewer reads from left to right his or her eyes are drawn to each of the bright glowing lamps. This brightness is a normal part of composition since the human eye is naturally drawn to the brightest or highest point. Once again the repetition of the lamps plays a big role in keeping the viewer invested in the photograph. The eye is drawn to the lamp that is closest to the viewer then they naturally read left to right. After reaching the last lamp the viewer realize that they have missed the lamp to the left of the one that first grabbed the viewer’s attention. The odd number of lamps keeps the viewer interested in the photograph just as in the previous photograph. The angle at which the photograph was taken allows for the actual boarder of the photograph to keep the eye from trailing off. The viewer hits the last lamp on the far right and then the darkness that is below and to the right of it creates that blocker along with the actual edge of the photograph.
2 Glasgow City Council. Kelvingrove Art Gallery and Museum. [Glasgow]: Glasgow City Council, 2006. Print.
This photograph was also taken in the House of an Art Lover but this time on the outside of one of the doorways. These lamps are very similar in style to some Japanese style lamps. Wisconsin architect Frank Lloyd Wright also used this same style in many of his buildings. Sticking with repetition, the eye is drawn from one lamp to the next but is stopped prior to reaching the final lamp. The side of the House of an Art Lover creates a blocker so that the eye is brought back into the picture instead of trailing off to the right since most people read left to right. The leading lines created by the tree line actually draw the eyes to the right as well but is once again stopped by the massive side of the house. The lamps in the photograph are not actually exactly the same, they are similar. The bulbs of some of the lamps are tilted and some of the posts are not centered underneath the canopies. These slight differences in lamps keeps the viewer engaged while the similarities create comfort. Just as in the other two photographs, the odd number of the repeated subject makes the viewer more interested in the photograph.
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