Many people find classically composed works to have an innate sense of balance, beauty, and tension. In the first half of this lecture Adam Miller takes us through various components of classical composition and why certain elements of a work create a specific visual impression. Miller particularly emphasizes the strengths of utilizing contrapposto in constructing an artwork- not just in the manner all figurative artists would recognize (a figure in a standing posture with most weight on one leg and the other relaxed causing a tilt in the hips) but in a more general sense, describing tension, opposition, and gesture on a conceptual or grand scale.

In this lecture we are guided through several well-known works and Adam Miller discusses the elements of classical composition that can be observed. Some of the works discussed are the facade of the duomo in Florence, the Sistine ceiling in the Vatican, Ghirlandaio’s painting in Santa Trinita in Florence, monumental sculptures by Michelangelo, works by Rubens and Tintoretto, and Géricault’s The Raft of the Medusa.

The second segment of the lecture introduces Miller’s own personal approach to composition. He guides us through a few of his paintings and describes the process for their creation including his inspirations, use of imagination vs. observation of models, use of technology and studies, and how he applies and translates the language of classical art to his contemporary works.

Adam Miller is an American painter based in Florence, Italy. He is known for his large-scale paintings inspired by baroque and mannerist art. His training includes time spent at the Florence Academy of Art and Michael John Angel Studios.