The rule of the Golden Ratio has been attracting artistic people throughout the history due to the unique combination of mysticism and mathematical order that it comprises. As such, it is not surprising that both painters and artists use this technique in order to achieve harmony and structural perfection. In this frame, it might be assumed that painters have more freedom to exploit this rule since they create a new reality from a scratch. Photographers, in their turn, face a more complicated task of finding the right proportion and capturing it. It is suggested that this technique allows creating an astonishing balance that has a special impact on the viewers’ even though they might not perceive the use rule at first sight especially in relations to photos that are commonly less expected to be structured in accordance with this rule. It is, therefore, proposed to compare two pieces – “The Last Supper” by Leonardo Da Vinci, which is a classic example of the use of the Golden Section, and a “Graceland” made by William Eggleston.
Looking at the “Last Supper,” one is sure to perceive the orderliness of the lines and the inherited regularity even if they have never heard of the Golden Section Rule. As such, the use of this technique makes a viewer to spend more time on the examination of the painting. Let us suppose that the Da Vinci did not use the rule and the Apostles would be placed in a random manner. In this case, the painting would immediately lose its pathos and sonority. Moreover, one would hardly want to spend much time examining it, since it is tiresome to distinguish myriads of objects erratically placed throughout the canvas. Bearing this idea in mind, it is rational to assume that photographers likewise exploit the rule to add value to their works. Thus, for instance, Eggleston’s “Graceland” produces some inexplicable impression of order and perfection. On the face of it, the room’s design is highly irregular. However, a viewer is sure to fee that there is some systematic formula hiding behind this irregularity. It might be assumed that the photographer has spent a long time to find the right angle from which he could capture these perfect proportions.
The fact that the use of the “Golden ratio” rule helps to bring in some additional charm and mystery to a work of art can be illustrated by the comparison of the two famous pieces such as Leonardo Da Vinci’s “Mona Lisa” and Henri Cartier Bresson’s “Children on a Staircase.” In both cases, the use of the “Golden Ration” is not as evident as it is in the previously analyzed examples. The viewer feels its presence because he or she cannot pass on to the next painting being stopped by an inexplicable desire to unravel some puzzle incorporated into these pieces. As such, the creators enforce the audience to give their works a due consideration by using this rule.