Here you can play with the figures in the painting, freely creating variations on the original work, but you can also practice your compositional skills by working on some of the exercises suggested.


It’s possible to drag the figures with your mouse, the movement buttons or the arrow keys on your keyboard, using the Space bar to change your selection. To find out about the other buttons, press ? for help and then… enjoy yourself.


Challenge 1  See example


Use button 4 (see Help ?) to hide the figures in the group around Christ. Use the commands “Move” (2), “Reverse” (3) and “Change Colour” (5) to achieve a composition in which the absence of this group of figures is not noticeable. You could place some figures on the hill or perhaps reverse the background or change its colour.



Challenge 2  See example


Reverse the background of the painting with button 3 (thus causing the reversal of all the figures) and then try to create a new composition —dragging, reversing and changing the colour of the figures— in which the largest possible number of them appear on the crest of the hill. Distribute the secondary characters —including the angels— in such a way as to increase the prominence of the group around Christ.



Challenge 3See example


Using button 4, hide all the figures except the angels and those around Christ. With the few remaining elements, find the best possible arrangement for the figures to create a scene which seems complete in and of itself.



Challenge 4See example


After changing the position of the group around Christ within the painting, use the angels to create a strong directional vector which helps to locate the new position of the principal centre of interest of the painting: the area made up of the heads of Christ and his mother.



Challenge 5See example


Try to change the maximum number of figures —except the angels— to a colour similar to the background, so that they blend in with it, thus giving prominence to the angels. As always, you can move or reverse the figures, or reverse the whole picture…  until you reach a striking composition which also, if possible, makes sense.