The top photo is an original work by Salvadore Dali, an amazingly talented painter. Below it is the same painting, reframed by me.
The original painting, entitled
Galatea of the Spheres, is an amazing example of depth and perspective. The deep depth provided by the many spheres is what originally drew me to the piece; in fact, it wasn't until later I actually noticed the face in the spheres. It's a painting of many layers, figuratively and literally, and it's this complexity that drew me in.
There are several key differences between the two framings, the most obvious of which is the face present in the original but absent in the reframing. The more limited
space in the reframing restricts the viewer from seeing all of the painting; the wider space in the original allows the viewer to see everything as originally intended. Obviously Salvadore Dali framed it the way he did for a reason; without the space, we wouldn't be able to see the girl's face in the spheres.
The original painting also has less
visual intensity than the reframing does, because of the wider space. The reframing focuses intensely on the horizon point; there is nothing but the diagonal lines leading straight to the point. The original, by contrast, gives a much wider view, one that isn't nearly as intense. Though the horizon point is still present in the original, it isn't as imposing.
How lines are perceived is another big difference between the two; in the original, we can see the woman in the spheres. However, the reframing does not show her; the lines can only be perceived as abstract paths to the horizon, as opposed to something bigger.
The original has
contrast and affinity that the reframing lacks; there is likeness between the spheres and the lines which they compose, and affinity with the spheres and the woman's face. In the reframing, however, there is no affinity; just an amalgamation of lines and spheres. The original also has
tension and release where the reframing does not. The tension of the imposing wall of spheres is released the realization that there is a woman's face within them; the reframing, not showing the woman's face, has no release, and is thus somewhat more uncomfortable to look at.