Close Up (Mar-Dec 1931)

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CLOSE UP 11 EI SENS TEIN ! ALEX AND ROFF ! TISSE ! 100 Views of Fuji and so many camera shots made with the so pronounced tendency towards shooting two plans of depth — one through another (specially Fuji seen through a cobweb and Fuji seen through the legs, or Edgar Degas, whose startling series of compositions of women in the bath, modists and blanchisseuses, is the best school in which to acquire training ideas about space compositions within the limits of a frame — and about frame composition too, which, in these series, restlessly jumps from 1 :2 over 1 :1 to 2:1). This is, I think, the right point at which to quote one of Miles (1) arguments much more closely concerned with the pictorial element here discussed than with the physiological where it was intended to be placed. For Miles, " the whole thing (the inclination towards horizontal perception) is perhaps typified in the openings through which the human eye looks; this is characteristically much wider than it is high." Let us suppose for a moment this argument to be true in itself, and we can even provide him with a brilliant example for his statement, one even " plus royaliste que le roi." — Still it won't help him ! — But, by the way, the example is the typical shape of a tvpical Japanese landscape woodcut. This is the only type of standardised (not occasional) composition known, compositionally unlimited at the sides by the bounds of no frame, and typified in its vertical limit by a shaded narrow strip from lowest white to, at its topmost, darkest blue, rushing in this limited space through all the shades of this celestial colour.