When I was in my art class and studying the section on Direction and Movement, I came upon Henri Cartier-Bresson's 1951 photograph, Aquila, Abruzzi, Italy. Immediately, I felt myself visually slide down the rails to the street below. It was like each curved line pulled me downward in a graceful arcing tug.
After I read the passage, I fully understood why and how artists skillfully use lines in their work. They can actually take a busy scene and cause our focus to go exactly where they intend. Additionally, even if the scenery is sparse or austere, carefully selected lines can direct us to the theme of the painting, even if it is the smallest, most unassuming piece.
Referring back to my opening, who would've thought that the primary focal point of a photograph would be in the lower left quadrant? Most amateur photographers place their items of importance front and center, to make sure they are seen. In this case however, the eyes' journey took us right where Henri wanted us to be...to the inconspicuous, unobtrusive subject.
PHOTO SOURCE (Book): #AOAMelanie
BOOK: Living with Art, Tenth Edition by Mark Getlein