圣喬治，所羅門;布面油畫，大約84 x 42英寸(213 x 106厘米);在皇家藝術學院的收藏中 《圣喬治與龍》講述了英雄騎士拯救了供奉龍的公主的故事，成為藝術家們的題材由來已久。 在這里，活躍于19世紀末和20世紀初的英國皇家院士所羅門·j·所羅門(Solomon J. Solomon)嘗試用一種引人注目的垂直構圖(如果你原諒這種表達)，準確地引導你的眼睛。 人物和衣料繞著騎士長矛的軸線旋轉，他們的身體位置有助于產(chǎn)生旋轉和扭轉的效果。 所羅門柔和的棕色和灰色將你的注意力吸引到這個女人明亮的皮膚，她的白色鑲邊的高金色長袍，騎士的盔甲，他的手和白色袖子的閃光，并進入云層的亮點。在畫的上部區(qū)域幾乎形成一個圓形的微型構圖。 然后構圖引導你向下流動的更柔和的織物—比騎士的衣服還要亮進入現(xiàn)在已經(jīng)被打敗的惡龍的口中，惡龍的丑陋無比。
St George, Solomon J. Solomon; oil on canvas, roughly 84 x 42 inches (213 x 106 cm); in the collection of the Royal Academy of Arts The legend of Saint George and the Dragon, in which the heroic knight rescues a princess who had been offered up as tribute to a dragon, has a long history as a subject for artists. Here, British Royal Academician Solomon J. Solomon, who was active in the late 19th and early 20th centuries, takes his stab at it (if you’ll excuse the expression) in a strikingly vertical composition through which he unerringly guides your eye. The figures and drapery swirl around the axis of the knight’s lance, their body positions contributing to the turning and twisting effect. Solomon’s muted browns and grays brings your attention to the bright skin of the woman, the high chroma gold of her robe with its white trim, the glinting of the knight’s armor, his hand and white sleeve, and into the highlights of the clouds — almost forming a circular mini-composition within the upper area of the painting. The composition then guides you down the flow of the more muted fabric — still brighter than the knight’s garments — into the jaws of the now defeated dragon in all its glorious ugliness. <
