When lines of varied directions are superimposed within the same composition, their psychological impact can become more pronounced. In Piet Mondrian’s Broadway Boogie-Woogie, 1942-3, horizontal lines are combined with vertical lines resulting in a mathematical grid (similar to graph paper) that implies  stability and mathematical regularity. 

 

In Paul Cezanne’s The Large Bathers, 1898-1905, horizontal, diagonal, and organic lines are introduced. The horizontals defining the riverbank and the diagonals of the tree trunks produce a triangle, again very stable and harmonious. The diagonals in the arms and legs of the women and the organic roundness of the analytic lines, which define their bodies, heads, and breasts, produce a soft flow and lend rhythm to the painting.

 

 If you look carefully at this example, you will notice how Cezanne distributed these various types of lines. Besides the riverbank, where else do you see horizontal lines? Besides the trees and pointing limbs, where else do you see diagonals? Besides the women’s bodies, where else are there expressive or analytic organic lines? The artist carefully wove the element of line and its variants throughout his entire image in order to keep the viewer’s eye continually engaged.