Christmas break

Hello everyone and Merry Christmas! Yesterday brought a close to my second grouping of essays, and I have learned (or re-learned) a lot about my preferences and biases, and more importantly the history of the arts. First, I insist on originality, and I appreciate the risk involved in its pursuit. I believe this so much that I'm integrating it into my personal brand identity. Second, I do favor simplicity, order and balance, but not to a militaristic degree. Third, after some of my Romanesque study, I find I don't care for gold. I also found I have a lot of respect for the formal aspects of value, repetition and texture.

Last, and most importantly, I would rather take a stand and be completely wrong than try to please everyone by "covering all bases". So, when I make my analysis, I will generally select a single component out of a handful what I believe to be the "primary". I'll follow that up by describing what the "subordinates" are and why I think they are secondary.

My final grouping of essays will begin on 1/8/18, and I will switch from weekly to daily postings. The weekly strategy was very effective at developing my analysis model and helping me memorize it. Going back to daily postings will teach me more about its strengths and weakness, in addition to exercising my mind in new ways. During the break, I will be fine-tuning my model, working it to a point where it could possibly be its own design project and consumed by the public.

My impressions now go on the posting page ("share" or "comments" dialog), not on the actual essay. I will skip the portion where I describe the basic subject because I am including a citation and an image. I think the single-greatest thing holding my analysis back is my unfamiliarity with the Bible and cultural symbols for several artistic periods.

From essay to essay, I repeat certain observations. Elemental comparisons, contrasts, ratios, populations, the presence or lack of balance and equivalence, an general observation about the work's sense of order or chaos are all things I tend to touch on. I characterize an aspect all visual compositions share (eg, abstraction, balance, movement) and define it. If I am wrong about an observation, or fail to mention something vital, usually this will be corrected in the conclusion paragraph. Last, I am going to attempt restrict the length of my essays to three paragraphs and stick to "non-obvious" observations. Some of the essays I posted in this last group were way too long.

So, I'm preparing for my final group of 82, and looking forward to finding out where that will leave me in my understanding of visual artistic formalism. If I had to guess, conceptual and content study will come next. Any comments/questions/criticisms are welcome!

Peter Paul Rubens (1610 to 11). The Raising of the Cross [oil on canvas]. Catherdral of Our Lady, Antwerp © IRPA-KIK, Brussels.

All subjects are treated with a tone of tortured animation. Forms are richly developed, elongated and sinuous. This is “reality beyond reality”, edging on chaotic, testifying to Rubens masterful skill because the energy of this masterpiece implies his frantic, and not deliberate, rendering of it. A momentary story is told, but its impact on the emotions of the observer I would argue is more to Rubens’ thrust. 

Again, typical of the time period, value does almost all of the heavy lifting in this masterpiece. It is responsible for the highlighting of Christ’s form and this entire work’s modelling, fore/background relationships and compositional binding. I believe Rubens uses a split-complementary color scheme with neutral reds set in opposition to cool greens and somewhat warmed blues. He blends hues and their densities to create the unique modelling of this work. Depth is fully developed; one of the less obvious methods he uses to establish spatial relationships is a near-blending of figures into a complicated, almost storm cloud-like horizontal arrangement of blocks across the canvas. 
This composition swirls with organic, circular shapes and energy intermingling with elongated, muscular forms. The tension in the canvas rotates its sense of balance to the left, along the axis of Christ’s figure and the extending form below him. Further pictorial organization is evident if a perpendicular axis is drawn running through his hips. Rubens uses the full value range and variations in mild and stark value changes to establish both near and distant proximities between subjects and subject blocks. He blends unbalanced proportions and equivalencies to create an energetic and cohesive masterpiece. 

An ocean-like swell of figurative shapes brackets and are oriented toward the centrally-located block which is performing the titled action. Within that block, Christ’s form is unnaturally illuminated and further framed by shapes formatted with color and value contrasts. Further pictorial movement swilrs in a vast, sweeping motion from Mary’s face down through the crowd and out through the right side of the combined composition. The observer seems “buoyed” in the crowd near at-hand. 

One of the most important and challenging truths about the accomplishment of Rubens is to describe the unique way he blended the visual drama characteristic of Renaissance Italy with the needling detail Flemish artists were known for. The impact of theatrical formalism of artists such as Caravaggio is clear, yet Ruebens’ “opening up” of midtones fleshes out a level of detail largely untouched by collateral styles developed during his age. 

Caravaggio (1603 to 04). Entombment [oil on canvs]. Musei Vaticani, Pinacoteca, Rome.

This is a perceptual work of rich naturalism. Pictorial movement and stability are equivalent; this does not stabilize, it intensifies the drama established by value. For all of this tension, I believe Caravaggio has calibrated his employment of formal elements to perfection to, above all, draw an emotional investment from the observer.

Value contrasts don’t only develop surfaces and forms, their mild versus stark juxtapositions establish figures in compressed and fully developed space. Value, value, value. The master’s multi-purposed employment of value, in addition to crystallizing depth, results in possibly the finest example of a paced pattern supporting a conceptual message I can think of.

This composition is asymmetrically balanced verging on unbalanced due to the unmistakable downward energy Caravaggio has trapped within the canvas. Even its orientation supports this impression. The “substantialness” of the figures and their rich development stabilize this movement.

The insights of Caravaggio and the visual expression style he defined dictate that value be the foremost element to be analyzed in all of his work. In this case, he has used value to establish ground-subject relationships above and beyond his characteristic development of forms and surfaces. The illuminated, high-key drama plays out against a formless, dense mass of space. He has created a second layer of tension in the conflict between the two value keys.

Equal rich embellishment is distributed across the subject matter. The relatively high-key formatting of Christ’s figure and his bracketing by abrupt color and value changes places most of this work’s pictorial energy on him. In addition, the arrangement of shapes, emphasized by the orientation of the canvas, abruptly stops at his form.

One of the strongest measures used to establish this work’s undeniable impact is it’s placement of the observer. First, she or he is referenced by the man supporting Christ’s lower body. This forces the observer to participate, and realize they are within the pit where the subject’s body will be lowered.

Albrecht Dürer (1500). Self-Portrait [oil on wood]. Alte Pinakothek, Munich.

Like Self-Portrait by Caterina van Hamessen (or rather, the other way around), this work accomplishes what a studio portrait photograph would centuries later. While formal choices are to be analyzed in any work from any time, works such as these are a welcome break because they are not weighed down with a tangled mass of symbols, metaphors, allegories and hidden meanings. Dürer building a self-portrait is completely appropriate; he was and is an undeniably important and masterful figure in western visual artistic tradition.

Clearly value does most to bind the canvas and establish depth. This self-portrait is modeled and interest is built on its use. Depth is compressed yet developed, due to a blend of monochromatic color, consistent textural and detail development and variations in contrast of both color and value. 

A number compositional choices harmonize this work, including illusionistic texturing, blended and realistic edge treatment, monochromatic color and masculine tone. When these qualities are compared with their complements, their proportional dominance is revealed, which makes Durer’s interest-generating choice one of uncommon effectiveness. Density characterizes this work, however Dürer has restricted the entire upper value range to develop this portrait’s primary subject matter, which is his face and right hand.

The “block” of his figure establishes a balanced triangle, which is revealed when considering the unnatural arrangement of his locks. This shape is repeated within his frame, and seems to organize the composition. He clearly communicates the clarity and confidence of his thought and the surpassing skill he believes he possesses in his hands and mind.

Fra Angelico (1438 to 45). Annunciation [fresco]. North Corridor, Monastery of San Marco, Florence.

When this work is compared to Buoninsegna’s Virgin and Child in Majesty (as a for instance), it is clear that the corner has been turned toward temporal, reality-based expression. Formatting vestiges of the Byzantine and Middle Age styles are still present, but they are slipping into subtlety. This would be the case even if not for the fully developed use of linear perspective, which is even more impressive because of the seamless integration of roman and pointed arcades. Angelico has placed the event relatively close to his own time, within a monastery as austere as the figures are humble. The stability of the composition and its organization emphasize the interaction between the angel and the Virgin.

Value and texture together develop a majority of this work. There is some blending present, but the rather abrupt changes in key across the canvas develop its illusion effectively. When parchment-like texturing is applied across the canvas, pictorial union is achieved. In this way, the architecture is textured in a manner relatively true to reality. The background foliage is itself used as a texture, as opposed to being formatted by one. Lastly, the Virgin’s development seems to cause her upper body to meld with the background, an interesting choice on Angelico’s part.

Of course, the remaining dimensions of color and shape have their compositional impacts. The development of clothing folds and interior space rely heavily on value-based color adjustments; calibration of chroma tends to define areas and shapes more than integrate into this work’s modelling style. Single-point is the most efficient measure used to develop this composition’s depth.

Angelico’s interplay of curved and vertical forms on a horizontally-oriented canvas is an unmistakable strength. His reliance on linear perspective to organize his forms and formatting choices is equally strong. There is perhaps an overly-sensitive (that is, incised) presentation of architecturally geometric forms set in opposition to a combination of natural and figurative shapes. The lightest tones are favored and used to define and span space; dense tones enrich the sense of space built on the higher keys, develop the far-background and establish the forms of the subjects, especially in the case of the Virgin.

Angelico’s rich architectural and spatial development vie for attention with the interaction between the angel and the Virgin. The rendering of their skin and faces carry some of the slight formatting of figurative development from centuries past, and the form of Mary seems to diminish due to it’s formatting. However, the development of both figure’s robes contradicts this, even if Mary’s rendering is flattened. In the end, the architectural bracketing and implied communication between the figures do most to center attention on their interaction.

This work is located in the monastery of San Marco, Florence. It is placed so that as the day closes and the individual monks go to their cells for the night, they are greeted by the optically-based scene of Gabriel notifying Mary of her destiny so they can pray with this event in their hearts and minds. Angelico has taken on and succeeded in one of the greatest challenges of visual expression: To bring elemental choices that bind into seamless balance with those that create conflict. The content-first beauty of his composition crystallizes his success.

Ambrogio Lorenzetti (1338 to 40). Allegory of Good Government in the County [fresco]. Sala della Pace, Palazzo Pubblico, Sienna, Italy.

The diluted colors and contrasts could be due to the medium and the age of this work. Clear simplification is present, perhaps to support the idea that skilled government “orders” the countryside as shown. There is more than a hint of realism, but abstraction overrules. The arrangement of figures both in the foreground and background imply that they should almost be “read”, from left to right. 

Due to the effects of time on the medium, color purity is foremost. If not for the pinkish mechanical figures and moments of bright red, purity would not be as noticeable because of the generous use of diluted color. Pattern unifies the composition as well, though not in an obvious way because of how it morphs from mechanical to organic shapes from left to right. This has an interesting affect on this work’s texture because it gives it an overall tactile impression, as opposed to specific textures being applied to individual areas and shapes. 

Depth is clearly implied, however the flatness of shapes and the eroding of contrasts (especially in value) tend to defeat this. Therefore, pictorial depth is a source of conflict in this piece. Diminution, atmospheric perspective and adjustment of details are the primary measures Lorenzetti uses to imply receding space. There are some interesting gestalt relationships developed to create order on the village edge, above it to the farmland, and off into the distance where the landscape transitions from development to wilderness. 

A small proportion of artificial, mechanical shapes dominate a large population of rolling, natural ones. One of the traits of this work that separates it from many of the era is Lorenzetti’s blending of sharply-defined and amorphous forms. Overall, the formatting choices he uses are applied consistently with reasonable variation, but in the end stability is heavily favored. 

The incised definition of the buildings to the far-right generate most interest on the “country” side of this composition. It works in a cross-directional orientation to the overall flow of this half of the work and is formatted with a discordant pink hue. The directionality of the gate and figures pouring from it pull attention into the countryside. (Note: Up to this point, I split the total composition in half and analyzed the right half, meaning this criticism is compromised because it only takes into consideration half of the total work). 

To summarize both halves of this work, I must paraphrase Marilyn Stockstad. The cityscape-half of this composition does not qualify for two-point perspective, but in the planar arrangement of its constituents a tone of believability is achieved. Reinforcing this is the standard-setting (for its time) application of scale when the population is related to architecture and portals. Formally, Lorenzetti has developed a beautiful intermingling of warm/cool colors and light/dense tones. 

(architiects unknown, located at Mycenae, Greece) (c.1600 to 1200 bc). Citadel of Mycenae [stone block township].

As far as fortified cities go, this is typical of ancient citadels in a handful of ways: It’s built on a hilltop with tall, thick walls encircling a palace or command center (a megaron in this case). It was not developed to most "mature" state (approximately 1250 bc) in a single burst of construction; like Stonehenge there were at least three major additions or overhauls. There are a couple of details that may differentiate it from “typical” citadels. The size of the blocks used to build the walls are unusually massive. In addition, a grave site is located within the city-proper, instead of beyond its walls. 
The site is developed on a distorted grid system with circular constructs embedded within. Internal divisions and access spaces appear consistent in width. The term “citadel”, which applies in this case, references the defensive consideration in this town’s development. With militarism so embedded in these living spaces and the local culture, there still seems to be reasonable space diffused throughout, providing at least some of the room people require. During it’s time, the palace/megaron complex must’ve dominated the view of this town both within and outside its walls.

These ruins reference the pre-Greek period of mainland dominance by Mycenaean culture as the island-based Minoan declined. One trait the Mycenaeans held in common with the Egyptians was a strong respect for the passage of life to the next, at least in their funerary complexes if not conceptually. The development of grave sites into fully-integrated beehive corbel vaults was an achievement only of the Mycenaeans during this time. In fact, the single-largest space spanning construct in the whole of Europe was a Mycenaean beehive tomb (the so-called treasury of Atreus) until Hadrian completed the Pantheon in the second century ad. 

Rembrandt Harmenszoon van Rijn (1653). Three Crosses (first and fourth states) [drypoint and etching]. Rijksmuseum, Amsterdam; The Metropolitan Museum of Art, New York.

This is a textbook example of a generally naturalistic work that has sacrificed it’s attempt at reflecting reality in favor of using formal choices to tell a story. In this way, both states approach the definition of conceptual art, but it remains perceptual. In addition, this series illustrates the value of effort, splitting the difference between creating from internal queues and a system of design guidelines.

In the first state, the use of negative space is stark, the global texture is harsh, values are placed on the terminals, and they are restricted to their shapes and areas. As iterations are completed, negative space becomes blended with solid, the value range is wider and the textural effect becomes unified with the use of line and value. This combination of choices creates a markedly more integrated composition, which in turn places less emphasis on form and more on content.

In the first state, the greatest source of depth is the relative detail development, even transparency, of the three major crowd blocks (combined figures) on the canvas. From right-to-left, the block bathed in light recedes the most, while the next two are embellished with stronger strokes until the last block, which has solid, dense areas, is closest to the picture plane. The first state’s pronounced value contrast and sharp texturing have a flattening effect. In the fourth state, oblique area-developing strokes instill a sense of projection into the center of the canvas, missing from the first state. In addition, the use of value shifts from defining edges to fleshing out subject surface areas, another space-developing measure missing from the first rendering. Last, details are treated with progressively sharper definition as the eye travels from the outside to the inside of the canvas.

In the first state of this series, quick gestural lines bind the canvas. The combined formal choices create a rough global texture. Near-equivalence in proportions create some tension. As Rembrandt progresses in the series, line is no longer the single active element and shapes become more developed. There is more varied use of sharp versus vague shapes. Vertically elongated forms contrast against a repeating pattern of small forms with touches of highlighting. A limited value palette is expanded to employ the full value range in roughly equal measure (ie, the midtones are filled). I believe Rembrandt’s use of value builds interest in the fourth state because of it’s rough versus smooth nature.

This transition in formal choices, specifically value range, textural blending and the fleshing out of pattern, describe the greatest difference in pictorial balance between the two states. Both are basically stable with the superb choice of vertically bisecting the compositions with the subject figure at an off-center axis. The formal choices of the fourth state are much more effective at unifying the canvas.  While this may not dramatically adjust stability when one composition is compared to the other, these choices are effective at narrowing the focus to the subject area and off of the limitations of the composition.

The formal choices that crystallize the first composition place the observe in a harsh, hard cavern where noises are not muffled but reflected and amplified by the unforgiving surroundings. In the fourth state, the surroundings become vague, and the immediate area is defined by a bright light that quickly loses luminosity, causing sights and sounds to become progressively less distinct until all sensory detail is lost in vagueness. Both compositions are equivalent in focal energy. The first spends it in a more global manner, defining the encircling crowd and surroundings. The fourth focuses most of its focal energy on the figure of the Crucifixion, stabbing into the space above it, in obvious directional opposition of the light raining down.

First state

Fourth state

Gianlorenzo Bernini (1645 to 52). Saint Teresa of Ávila in Ecstacy [marble]. Cornaro Chapel, Church of Santa Maria della Vittoria, Rome.

This work perfectly balances realism with content without damaging optical detail. Bernini has brought to life a fantasy which impacts the emotions of the observer, even if they attempt to keep it at arms-length. The light shafts, which hint at color, create a specific pattern, as does the combination of robe folds and clouds. These two patterns have noticeable contrasts in directionality and edge definition. 

Bernini’s use of line is effective at building a warm background and supports the impression of weightlessness he has developed. Their rigid, narrow and golden formatting contrasts beautifully against the flowing, achromatic character of the subjects. This is a rare work of sculpture created before the modern age that successfully develops amorphous forms. It is effortless to imagine bright, radiant color playing on the forms and clouds.

Formal choices are not used to jar the observer or grab their attention. He uses masterful, idealistic naturalism to render his vision, allowing the content to generate what energy, impressions or tension it will within the viewer.

Bernini has executed a vision in which the Saint is quite literally pierced with an arrow by an angel, placing her in a state of simultaneous physical pain and religious release. The greatest single challenge of visual arts is to use formal choices to support and communicate conceptual messages. Bernini has masterfully accomplished this in addition comparing the state of the Saint’s mind to a combination of experiences almost all humans go through, sex and violence.

Hieronymus Bosch (1505 to 15). Garden of Earthly Delights [oil on wood]. Museo del Prado, Madrid.

The trio of scenes take place in an almost cartoonish fantasy-realm. Overall, this work is formally stable, but movement and energy are integrated to the degree called for to tell Bosch’s story and grab the observer’s attention. The multiple stories are presented in an even-paced manner, each minimally interfering with ones adjacent, almost as if boundaries were placed between each scene like a graphic novel. 

Color and shape leap off the canvas. Colors are chromatic. Specific blues, pinks, oranges, greens and ivories generously populate and bind the canvas. In addition, color is a possible source of meaning in this painting. Shapes all relate in size and slight, fanciful formatting and scatter to build a pleasing pattern that organizes the subject matter. Value creates a beautiful, soft-edged interlocking pattern across the left and center scenes. This is broken in the right scene, where edges harden and the combination of mid and dense tones dominate. 

Subject modelling is abbreviated for the time period. Bosch relies on diminution and gestalt to create his reasonable spatial order. His use of colors, purity and overall development of details tend to compress these works, though his use of color temperature and value do well to create a substantial ground for the slighter figures to rest on. 

All forms, figurative, architectural and natural, have a playful, organic tone to them and further relate in diminutive size. When the definitions of edges and shapes are compared to the sky and atmospherically-diluted mountains in the far background, relative sharpness is discovered. Bosch’s use of value is particularly strong. It is more effective than color at generating interest and harmonizing the canvas because it does not draw as much attention to itself. The global color and placement of spherical shapes across all canvases both binds and generates movement. 

At first glance, attention is confused. The middle and right scene are each cluttered and contain a complicated network of directional forces and patterning. The calmness and relative spaciousness of the garden scene will attract attention because of the peace it offers, which leads the eye to the three figures representing the most repeated story in history. Beyond that, endlessly complicated formal choices might edge residual energy to the spherical buildings and shapes spaced throughout, and the individual interactions and stories told nearby. 

The observer is unconnected to the activities, floating high above and, due to the almost alien formatting of subjects, unable to interact with them. The frames seem to be filters, all directed at the same expanse of space, showing what they are individually formatted to reveal: Paradise, Earth and Hell. 

My apologies, but content was not reasonably explored because it would take a small novel to do so. I believe the primary strength of this triptych is it’s simultaneous and organic presentation of chaos and order. Subject size is relatively consistent but this does more to generate tension than calm. Additional sources of chaos are color strategy, the content of the Hell scene and the directional forces of both the Earthly and underworld scenes. Sources of order are consistent color, constricted values, scale and pictorial depth. This triptych is still a relevant piece, inspiring self-reflection of each observer and even controversy. 

Perugino (1481). Delivery of the Keys to Saint Peter [fresco]. Sistine Chapel, Vatican City, Rome.

This work documents an idealized event with period-based realism. The arrangement of shapes, colors and values and the creation of perspective-established space shows its reliance on design above other conceptual sources. Value serves overlapping purposes. Figures are modeled, depth is organized and developed, and a global pattern are all based on its use. A tetradic color palette, shape and texture are also used to build the formal qualities of this piece.

Diminution is an interesting aspect of this work. The two horizontal crowd groupings contrast heavily in their sizes, which strongly supports the sense of depth. The third grouping, which is the massive architectural figures, would seem to crush the figures below if not for the effective and consistent use of perspective. Still, they seem to nearly approach the plane of the “lower register” crowd in relation to the picture surface. Perugino’s global development of detail also tends to flatten. The far-right building is at an oblique angle to the picture plane, rotated to the right.

I believe this is a work of approximate asymmetry for the same reason as the Ghent Altarpiece, Annunciation with Donors. Gestalt and relative size are both a source of tension. There is rigid equivalency in geometric and architectural versus human forms. All foreground feminine forms emphasize their modesty, while masculine are generally upright. The overall effect of Perugino’s formal choices is to harmonize but there is some discordance.

Generally linear perspective places focus on a local area due to convergence, but in this case it serves to create a sense of spaciousness for the centrally-located exchange that is the subject. Aside from the literal use of line are the implied forces of outward-in directionality generated by gestures, gazes and figurative orientation.

Overall, the combination of message and pictorial focus is clear, and Pergino accomplishes this by creating an idealized, clear and pleasant scene. It is a visual representation of a vision by the city planner Alberti, where the temporal house of the Lord was centrally located, amid a generous open space, constructed on a dais. Both the air around it and its elevated placement separate if from this world, and place it in subtle, almost subconscious way nearer to heaven.

Jan and Hubert van Eyck (1432). Ghent Altarpiece (closed), Annuciation with Donors [oil on panel]. Cathedral of Saint Bravo, Ghent.

This work is rendered in the same hyper-realistic style as Double Portrait in its adjustment of how the cluttering of symbolic icons are largely (not all) replaced by figurative gestures. While overlapping purposes are served, including allegory and emotional impact, integrating the portraits of this work’s patrons into a visual representation of major Christian figures is primary. 

The formal development favored by van Eyck is to perfectly center the subject beneath and at an obvious angle to an aberration-free, energetic and single light source. This provides the masterful surface and textural development he achieves which is standard-setting in western visual achievement. Therefore, of all elemental and formal strategies used, textural development is primary.

Shape and the dimensions of color are unified. A red-green complementary color scheme is present, but not rigidly enforced. Value develops mass, and lighter values are favored, giving the overall work an impression of buoyancy even with the statues in the lower register. Depth is beautifully created through perspective and simply stunning modelling. A value contrast order is evident, separating the subjects from the spaces that span them, and further separating those spaces from the far background, in the case of the middle register.

Vertical subjects are framed in vertical cells stacked in a vertical arrangement. This places added emphasis on the subtle cross-directional line of text generated by the angel moving to the Virgin. There may be obvious formal differences along the vertical center axis, but for all intents this is a work of symmetry.

I find chroma interesting in this masterpiece. My initial guess is to place this as a work of complementary color, but I don’t think this is the case. The reds and, to a lesser degree, greens generate gravity in their purity, but so does the generous use of marble and ivory white throughout the canvas. They have the effect of presenting subjects that feel free from chromatic impurities, even if their values contrast. The net effect is to add a note of airiness to the overall composition while not "fitting" into a modern color scheme.

The central location of empty space and repeating figures of the text connecting the angel and Virgin draw attention to her and their interaction. The rich development and orderly arrangement of each figure draw investment from the observer without labor. They are given their own developed space within their cells.

The unfocused, distant gazes of the figures removes focus from the present, references their pious characters and their understanding that that which comes after mortality is what’s truly important. Humanism, the growth of the Flemish middle class and a transition to observable understanding in favor of religious mysticism are all referenced. The van Eyck brothers have blended together equivalencies, unbalanced ratios, harmonious and discordant choices to create a masterpiece that has undeniable organic unification.

Duccio di Buoninsegna (1308 to 11). Vigin and Child in Majesty [tempera and gold on wood panel]. Museo dell’Opera del Duomo, Siena.

This is a work of design. Orderly arrangement is obvious. The dramatic substantiality of the Virgin, her central location and the net effect of implied directional forces make her a formidable presence. Beyond this gathering of formal energy is a graphic design-like patterning of circular and figurative shapes, warm colors and high-key values. A consistent sense of simplification is present, and this work’s optical and conceptual qualities are roughly equally developed. In total, semi-abstract realism applies. 

Cohesion is based on split-complementary and overwhelmingly warm color, a unique pattern of values, statue-like modelling of figures and tiered organization of the same. Buoninsegna has developed an orderly and beautiful pattern of faces and halos supported by the seamless blend of these elements. A series of portraits is arranged in their proper places, bracketing the subject in glowing adoration. 

Reasonable development is evident on the overlapping figures, and an upper tier of portraits is scaled in size to develop a relative sense of space. The architecture the Virgin rests on is rendered with projected depth. However, the figures are somewhat flat overall. Buonensegna’s global use of detail supports this. An interesting combination of fiery reds separate themselves in relative depth from the dense formatting of the subject. Buoninsegna has used value in an intuitive way to place the Child in front of the Mother. The dramatic highlighting of her form does as much as her inflated size to center attention on her. 

Color strategy analysis related to depth: Favors plastic depth. Fiery red and rich, warm gold are respectably analogous colors and are not strong choices to develop space on their own (unless the intention is decoration). Neutral blues are present, however the use of this color is overwhelmed by its dense treatment to establish Mary’s form. This has the effect of “stretching” the pictorial sense of depth because of the complementary differences between the warm colors set in opposition to the blues. With all of this being said, the impact of Buoninsegna’s employment of colors is negligible. 

Split-complement compositions are always a challenge for me. If design is applied (and this work qualifies as design, in my opinion) the artist has four choices: Equivalence in warm and cool colors, equivalence in all colors, domination of either warm or cool colors, or domination of one color over the other two. Clearly gold overpowers to the point where it glows off the canvas. Formally, this a masterpiece based on overwhelming, unbalanced proportions. This is seen in Buoninsegna’s employment of color, value and the formatting of shape. Equivalencies can be found in contrasting shapes and edges. 
This masterpiece is a beautiful example of the blending of two major styles of western visual expression: Gothic and Byzantine. Future works would integrate similar figures with more spontaneity and further develop the progression of realism. Generally, unbalanced ratios favor order in the visual arts, so is the case in this work. Design by nature is organized, and this is a work of design. 

Pieter Claesz (1636). Still Life with a Watch [oil on panel]. Royal Picture Gallery, Maurithuis, The Hague.

Claesz masterfully renders a variety of challenges in this work of unexpected subject matter. Reflection, transparency, translucence and opaqueness are developed to near-optical precision. This is more than a simple still life; somehow Claesz has tinged the canvas with an air of tension, something near foreboding, in a way that is not easy to explain, but the choice to depict rotting food will best describe this better than any description I am capable of arranging. The placement of the scene in relation to it’s boundaries is also a source. Compositionally, there is a generous block of negative space, which causes the still life to be cropped on the right side, a deliberate and instinctually masterful choice.

This painting is an exercise in the use of color purity, which is this work’s backbone. There is no truly influence-free color to be found, but the the value states of the black table and white cloth are the most terminal portions to be found on the canvas (ie, they lay on the “terminals” of the value scale, and in this way are the most “pure”). For any student of the arts that’s starting out, any time you see a watch, sundial, clock or other time-keeping device on a canvas, your sensitivity to symbols should be piqued. In this case, it’s impossible for me to say whether a sliver of a moment or an extended series of minutes is captured.

The naturalism of this piece relates the subjects with each other in space more than any other measure. That said, their proximities are further implied by transparency and gestalt. A blended combination of artificial light reflections and modelling further develops the subjects; contrasts in value do more to ground them on their surface than push-and-pull the subjects in space. The overall result is plastic depth “trapped” in a compressed field of view.

The abrupt transition from formless, dead space to a meandering interplay of curved and angled edges, highlights and polarized values placed in close proximity other create a truly dynamic, charged composition of static subjects. While the unbalanced presence of energy is undeniable, this work subtly binds through color purity, subject size relatability and the unique subject definition Claesz employs.

What does Claesz intend to be the primary focal point? The still life is in focus and all subjects are richly developed. Four local areas vie for attention. This could be my bias as a hopeless art student showing through, but the optical development of the dead space-penetrating glass is first. Below, stark transitions in value are found where the awkward position of the display piece overlaps the same glass, second. Third, the brightest chroma on the canvas is found in the lower-right corner, addressing the pieces’ title. Last is the interplay of ellipses where the overturned glass contacts the metal plates at a perpendicular angle to the far-left. All involve either an interplay of transparency or reflection, and all generate equivalent gravity. The result is a triangular series of paths the eye follows as the mind attempts to bring content and form together and make sense of what Claesz has created.

In the end, choices that bind and choices that cause discord are both abundant, but tension and interest remain. I believe the single-greatest example of mastery Claesz has achieved in this still life is how he has infused the canvas with this invisible energy through subjects that are unmoving, and even some that take on a character of being “dead”.

Hyacinthe Rigaud (1701). Louis XIV [oil on canvas]. Musée du Louvre, Paris.

This work is simply stunning in its presentation of reality. I believe it is formally richer and more detailed than what a photograph would be able to capture; the subject is clearly in focus, and framing and background elements have subtle detail adjustments. Hyper-realism is approached.

As usual, color value and purity contribute a great deal of vitality to this work, but because of its impact on content I would argue texture is the primary. True, it is more of an afterthought once the skeleton and mass of this work is established through color dimensions, but Riguad’s measured and masterful use of texture establishes the luxurious quality of this work in the manner that the patron so obviously wants to express. The color strategy is possibly tetradic, with a dense blue and sea-green on the cool end set up against a fiery orange and diluted gold on the warm.

Rigaud ties together an amazing illusion of depth through the blended employment of a handful of measures. Foremost is unique modelling by combining variations in value with purity, a strategy rare to find in works up to this point. This is seen in the development of the subject’s skin and especially the drapery, while most of the remaining modelling rests on value variations. Next, of nearly equal importance, is the masterful calibration of textural and edge definition, which subconsciously create a hierarchy of subjective importance in this work and continually returns focus to the subject. In addition, his placement of relatively bright-versus-diluted colors generally align with the foreground-background order he has constructed. Last, Rigaud has expertly employed pattern to bind the subject with the near-background and separate both from the distant background.

Unlike Melencolia I, this work does not have a Rorschach test character. While masterfully executed, it is a basic Baroque-era portrait that communicates the traits the patron wants to express into the compositional switches the artist manipulates. Rigaud reserves the strongest value differences to define and direct attention to the massive, plush drapery the king is swimming in, possibly the strongest formal choice of many. It reinforces the pictorial weight of the king, presenting him as the foremost and only subject. His armed pose, display of his legs and the off-center placement of the single-greatest symbol of his political position (crown) emphasize his youth. He is looking down on the observer, and elevated on a step adding further psychological meaning to the portrait.

Rigaud has developed a color value-defined foreground set against purity-based background and intuitively calibrated detail to create an amazing illusion of depth. Combined with his masterful development of texture and pattern, the content of opulence, decisiveness and vitality are communicated. This is a simply masterful portrait that employs its formal strategies to near perfection.

Albrecht Dürer (1514). Melencolia I [engraving]. Victoria & Albert Museum, London.

I do not believe this masterful engraving qualifies for “naturalism”, nor do I believe that was the artist’s intention. There is some noticeable distortion and integration of elemental, simplified forms, but this work is overwhelmingly realistic. Its content is much more complicated (at least to me). Dürer is successful at communicating a somber mood, nothing cynical but more a sense of frustration. The emotions of the artist seem to be the primary motivation for this work’s creation; it releases his emotions by depicting the general emotions of the idea “artist”. Why she’s (the figure is a woman) winged, or angelic, I cannot guess.

Where specific shapes or edge definitions are not required, Dürer has done well to take advantage of the texture-building qualities of the medium to bind the foreground together. The specific grain-quality he uses fails in the background in favor of straight parallel and radiating lines. He models individual subjects substantially to define masses in space with more vitality than Battle of the Nudes, for example. The lightest values are reserved for the near-foreground and the full range is squeezed as the foreground recedes. This is contradicted by the far-background to upper-left, which too uses the highest keys available, somewhat flattening this otherwise plastic composition.

Possibly the greatest source of this work’s vitality is the unapologetic distribution, and near-merging, of differences. Curved and straight forms, solid and soft surfaces, the androgynous character of the subject (a possible reflection of the time I live in and my own biases), parallel, radiating and perpendicular lines, figurative and mechanic characters, and so forth. If one concentrates hard enough it’s not hard to imagine the portions of this achromatic work that would be formatted with pastel blues, lush greens and warm yellows, in addition to their value complements.

Symbolic shapes crowd the canvas and directional forces meander; when taken in whole, movement is confused. Subjects, both figurative and inanimate, and spatial grounds (fore/mid/back) are all rendered with the same focus. This work approaches a state of ambiguity, however the largest relative size, most pronounced mood and the greatest variation in value are reserved for the foremost angel-figure seated in the lower-right portion of the picture plane. The characteristics of the symbols generate attention for a variety of unique reasons: Text, pure geometric shapes, thinly veiled meanings, distortion and utility.

Because of this original intermingling of meanings and energy, defining the orientation of this works balance is, again, confusing. My attempt would be to call this static asymmetry, horizontal and vertical tipping axes favoring the right and lower halves respectively, taking advantage of the rule-of-thirds photographic axiom.

This is a work of equivalencies. Throughout the entire history of visual expression, placing formats, elements and compositional distinctions with identifiable differences (not necessarily opposites) in roughly balanced proportions generally results in building interest which can become a distraction if not brought back into harmony through the use of unbalanced measures.  In this work, Dürer has defeated the relative flatness of this piece by infusing it with multifaceted energy through conflict. There is elemental dominance present (value, plastic development, roughly-defined global texture). The result is obvious masterful organic unity.

The words of Marilyn Stockstad from my text states it best and concisely: (the subject is) “…A superhuman, listlessly brooding figure surrounded by tools and symbols of the arts and humanities but still unable to act.”

Raphael (1510 to 11). School of Athens [fresco]. Stanza della Segnatura, Vatican.

Raphael has created a seminal work of near-optical naturalism in this piece, truly as if one were looking into the past through the framing roman arch. He has created a vision of mature classic Athens, bursting with civic activity, the apex of what self-determined, democratically-minded individuals are capable of shining through in the colossal, marble-formatted architecture that surrounds them. This painting is a beautiful example of the Renaissance-era’s affinity for classical antiquity.

Shape is primary over the generous use of value and hue because of the conflict through equivalence Raphael creates between their mechanical and organic formatting. Both shape types labor equally and heavily. Artificial shapes create the masterful illusion of linear perspective-based depth; figurative shapes infuse the canvas with activity and life. They merge to build a defined pattern of values that intermingles with the coffer and color patterns without damaging them. Colors are quite varied, and to establish their order depth-wise, Raphael varies their values much more than their purities.

Perpendicular, rigid edges contrasted against roman curves encompass a massive volume with absolute stability. The scale of this works architecture diminishes the activity and forms of the bustling crowd within. The artificial shapes, colorless, orderly and repeated by the statue-like elements that populate the frame, are brought into pleasing conflict with the numerous figures, colorful and collectively confusing any overall sense of direction. This painting gracefully combines differences in a way that is illusionistically believable and pleasing.

The way Raphael highlights his focal point is somewhat obvious, although he does this without enlarging the figures unnecessarily. The elder Plato and younger Aristotle are placed dead-center on the canvas, highlighted by a clear pane of skylight in a near halo-like manner with all lines of perspective converging between their forms. Energy is directed into the canvas by the space-spanning structures and activities of the crowd.

This masterpiece defines the Renaissance style of expression by merging multiple ideas, formal choices and advancements in expression in a way that is orderly and believable. The two central figures represent our need to attempt the impossible from a position of safety based on reason. The canvas is populated with a multitude of colors and values that are as varied as the professions that are represented in the crowd. Finally, this work illustrates as well as any the refinement of perspective to provide pictorial depth and order, supported by the sensitive adjustment in scale as the figures approach the picture plane.

Antonio del Pollaiuolo (1465 to 70). Battle of the Nudes [engraving]. Cincinnati Art Museum, Ohio.

The noticeable twisting of the forms nudges this work toward the abstraction end of the scale, but it remains fixed in the realistic portion. A consistent scale and “buffer” of space is applied to each subject, causing their arrangement to take on an alternating design format with all action and movement well within the established boundaries and directed into the canvas.

This seems to be a thematic perceptual work driven by the needs or goals of the artist. A singular, specific person is studied from a variety of angles, activities and differences between engagement and freedom from it. It can easily be argued that all visual art is an active study in one way or another, but this work seems to put experimentation and a search for formal proportions unapololgetically foremost.

Clearly value is the sum of this work. Pollaiuolo’s formatting of background (denser) and figure (lighter) and their before-mentioned arrangement create a harmonizing value pattern for this work and grounds its sense of pictorial depth. Line is used to define shapes and model figures. Pollaiuolo has managed to create a lush texture to give the background life in spite of being limited to etching-based value. The sharp global definition of edges and shapes tends to flatten this work. He seems to dislike foreshortened forms. In the end, there is a respectable illusion of depth.

Line is to this work what points of light are to raster images. They define shapes but not in the same manner as comic books. Shape definition through strong value contrasts applies. There is an undeniable dominance of organic figurative shapes responsible for the action of the foreground which is only repeated by the forms that populate the dense background. The study of the subjects, which all relate in size and modelling, is an exercise in beauty that is harshly contrasted by the uncompromising, wicked character of the weapons they carry. All violence is implied as no actual blood is visible.

The foreground separates from the background in part because the figures are mildly highlighted with a higher key. Overall, the directional thrusts, while forceful, meander across the page, always redirected toward the center of the canvas. Combined with the consistent embellishment of style, no single region or interaction between figures overpowers any other. They all attract a similar level of interest, however the center figures, due to their location, reflective characters and sizes, are the starting point.

By treating each figure with roughly equal development, Pollaiuolo has in a non-obvious way focused attention on the single individual he has used as the subject of this piece. He has encapsulated on the picture plane one of the greatest strengths of in-the-round sculpture by allowing the observer access to all perspectives of the figure, with the added benefit of the viewer not being required to move.

(artist unknown, designed in London) (c.1270 to 80). Windmill Psalter Psalm I/Beatus Vir page [ink and pigments on vellum]. The Pierpont Morgan Library, New York.

The sum of the arcs, strokes, figures and designs is the colossal Beta character. The merger of these elements and the letter itself slightly overpower the individual shapes. The result is a work of semi-abstraction, while the recognizable forms have some realism. Generally negative space does not apply, but there is an alternating pattern of low/high energy areas throughout the character dependent on the recognizability of the forms (ie, abstract vs robed figures). 

Line, shape, color, value and pattern are vital to the overall crystallization of the letter-symbol and in defining its framework. Value and color are simply inseparable in the development of this image. Dense blues and light oranges, while near-polar opposites along two color dimensions, effectively harmonize the canvas, instead of disrupting it. This combination does as much of the labor in creating this thing of beauty as it’s endless, complicated design. Colors are bent to suit the needs of the composition, rest nearly on swatches, but are probably value-based. The color/value blend creates a clear pattern that integrates into, or establishes (its difficult to tell), the unique design that characterizes this piece. This pattern merges to create a life-like texture similar to what can be seen of a hanging garden. 

In terms of depth, this is clearly a work of gorgeous decoration. Any illusion of depth is secondary, used to support the design organization by placing figurative shapes in front of background and form-establishing and intertwining strokes. Color purity and detail definition are used in an intuitive way to support this work’s sense of depth. Small circular designs are arranged in a flowing pattern that creates a global radial sense of balance with a beautifully diffuse energy. The character is defined by curvilinear boundaries and a rigid, perpendicular framework that still maintains the character of the subject. 

Color and value have been given their due attention, but line is as important, even if as an element it doesn’t suit as many overlapping purposes. It is a source of both grace and interest through circular versus abruptly direction-reversing directions and dense versus light values. Line provides scaffolding that in local areas blends together to create abstract shapes that further highlight the figurative ones. 

The force inherent to line creates the afore-mentioned homogeneous energy that charges the picture plane, however this suits the binding needs of this work. Due to it’s inflated relative size, the bright orange figure located in what would be the lower counter of the character has to pull most of this works attention. After that the eye effortlessly follows the lines of motion to the separate circularly-framed icons arranged on the page. 

In every respectable way this work could be transplanted into and be fully appreciated for the same reasons the indoctrinated favor modern art. It uses both unbalanced and equivalent proportions to simultaneously generate energy and create harmony. The simplest way to summarize this work is to state that it calibrates calm and tension into perfect decorative alignment. 

(artist unknown, located in Rome) (176). Equestrian Marcus Aurelius [bronze]. Museo Capitolino, Rome.

The rendering of this portrait is basically calculated, static perceptual naturalism. This is based on the superb, detailed attention on the folds of the subject’s flesh and clothing, and the attention on the subject’s facial expression and hair. Aside from the life-like purpose of this work is its political message. The oversized portrait of the emperor is placid, in control and differential based on his gesture and dress. It fulfills all of the political purposes typical of pre-Christian imperial Roman art. 

If not for the recognizability of the subjects this work would be impossibly balanced. The artist has expertly captured a mid-motion and marching gallop, the forward motion of which and the anticipation of the unengaged leg stabilizing its sense of mass. The employment of voids in this work is underappreciated. 

This is a good example where equivalence in subject size creates tension either because the man is over-enlarged or because the horse is diminished. The argument could made that this disparity is not a distraction and is fully necessary to suit the needs of the patron, which would be more in line with a harmonious relationship. 

The emperorship of Marcus Aurelius had a component of self-reflection, but it was also characterized by territorial expansion and internal consolidation. These qualities are all referenced in this portrait. All directional forces are forward, into the future, guided by the moral judgement of the philosopher-emperor. The pose of the horse is not so much a gallop. Actually, at one time, it trampled on an barbarian (now missing), again referencing Marcus Aurelius’ military feats. 

This work seems to be meant to be elevated in relation to any observer. The gravity of the emperor’s countenance, the direction of his gaze and even the posture of the steed suggest this. The pose and position of limbs that direct outward from the central figurative mass create a sense that the figures need space to “breathe”, rather than providing a tone of intimacy. 

An original Roman creation, this statue survives today because it was mistaken in the succeeding centuries for a statue of the first Christian emperor Constantine. While this statue combination itself might be formally simple, if not a master’s challenge to execute, the amazing accomplishment of the artist is how she or he was able to illustrate a vision of the Roman nation-state and of the character of the emperor for all observers. Elevating content to the the level of subject in a work of stable naturalism is a rare feat. 

Hendrick ter Brugghen (1625). Saint Sebastian Tended by Saint Irene [oil on canvas]. Allen Memorial Art Museum, Oberlin College, Ohio.

Brugghen has created a masterpiece that bends the fidelity of formal elements in a way that is transparent to the casual observer. The subject matter is brutal and graphic, but somehow Brugghen manages to present it in a sensitive manner, both in the tender moment he has brought to life and how his masterful skill has communicated it. He has installed tension within the observer based on horror and beauty.

This is a rare work where color purity is used foremost against the other formal elements, which is saying a lot because value does most of the heavy lifting in this general period of expression. The richly-colored robes beneath Saint Sebastian focus on his form by contrasting against his dull, sickly formatting. The sense of lifelessness in his body is undeniable; he appears to be moments from expiring. The unnatural darkening of the near-background instills in the mind a sense of the blackness soaking into Sebastian’s mind as death approaches while simultaneously pushing the primary center of interest forward. 
The subject and his attendant interlock with a certain intimate quality. Saint Sebastian’s relative size, placement and pallid appearance are the clear focus. The theme, like the value scale, is dark, but the actions of Saint Irene, the use of light and the formatting of the drapery beneath Sebastian provide a hint of hope. Value and color purity provide pictorial interest while form modelling and relative color warmth harmonize.

The scene is intimately framed, positioning the observer at a slightly lower angle to the interaction. This is consistent with the low position of the horizon line, but has the effect of pushing the subjects forward toward the observer. It is possible Saint Sebastian no longer has life in him, and depending on the observer, he could be a muscular man of action in defeat. Saint Irene would become the patron saint of nurses. 

Artemisia Gentileschi (1625). Judith and Maidservant with the Head of Holofernes [oil on canvas]. The Detroit Institute of Arts.

Clearly a work of amazing naturalism, Gentileschi has composed a work that integrates a handful of purposes masterfully in a forged combination typical of the time period. Anticipation is trapped in the canvas, charging it with energy, which is only intensified by the narrative and formal treatment of the subject matter. While all figures are “grounded” on a perpendicular angle, the canvas divides in half along a diagonal axis centered between the two figures, which organically heightens this works drama. The typical observer, placed intimately within the moment with the subjects, will have their disposition affected. Gentilischi has clearly left a part of herself behind in this piece.

Strong contrasts organize the entire canvas. Seventeenth century value development defines this work, but Gentileschi has installed a deceptively pure and analogous color palette as well. Whites clash against nebulous blacks with little intermediaries. The complementary tension between yellows and purples, background formatted with red and singular light source based on a candle flame create a warm composition.

The lightest values and contrasts are placed in the foreground, limiting the value range of the background and causing the two to separate. The field of view is compressed, supported by a slight adjustment in textural details and color scheme. Any further compression would probably create more tension, but story-telling details would have to be sacrificed.

Overall, this painting uses its formal qualities to create a beautiful, cohesive scene. It is the content that seamlessly charges the painting with a sense of danger. The exceptions are Gentileschi’s masterful use of value, overpowered by dense tones, and how she establishes pictorial balance, which disturb rather than support any sense of calm.

Genileschi’s consistent and measured distribution of high-key values and bright colors generate this works primary center of interest. They eye naturally travels to the dramatic shadow cast on Judith’s face by her hand, and then to the face of her servant. The singular direction of their gazes carries much of this works energy off-canvas. Gentileschi has masterfully unified emotional and intellectual content with rare formal and design instincts.

Albrecht Dürer (1526). Four Apostles [oil on wood]. Alte Pinakothek, Munich.

Dürer has provided a masterful combination of four realistic portraits; he endeavored to make literal a vision, and succeeded. Overall the work is stable, however there is a distinct sense of pensiveness built into the glances of the two right figures. Illusionistic texture based on masterful value development create this works pictorial beauty and depth. The strongest differences in value are reserved for the facial portraits of the subjects. The placement of warm reds and nearly pure whites in the foreground add to the sense that they are developed above the picture plane. 
This work seeks to balance its harmonizing and tension-building qualities. The upright rendering of the subjects is reinforced by the orientation of the canvases. However, it would be impossible to further compress the image without cropping the subjects. The lush, sensitive rendering of this work is repeated by the subjects attentiveness to the tomes they carry, which carry much of this works attention. Much of the life and sagely characterization of this work is based on its content. 

While the rendering of the subjects is lush and true to reality, it is not overly embellished. The subject matter is more direct and plain than works typical of the time. Both observations reflect this works endorsement of Lutheranism, which, to oversimplify, was based on a critical perspective of Catholicism as being grandiose and having lost any reasonable connection or understanding of the common man. There are also more literal clues consistent with this viewpoint in the arrangement of the subjects, text in and on the books and inscriptions on the canvas. 

Michelangelo (1508 to 12). Sistine Chapel ceiling: Expulsion, Creation of Eve, Ezekiel, Cumaean Sibyl, Creation of Adam, God Gathering the Waters, Persian Sibyl, Daniel, God Creating the Sun, Moon and Planets [frescoes]. Vatican, Rome.

The tenebristic development, dramatic presentation and rich use of architectural elements used to present the subject matter create a unified, nearly hyper-realistic series of works. I believe the numerous other-worldly references qualifies it so. Globally, these works are quite stable and arranged on a nearly-rigid grid system. This is contrasted with the lush energy of most of the individual scenes. This combination must be quite overwhelming to even casual observers. 

Taken in overall, Michelangelo has developed a wonderfully balanced and patterned arrangement of light/dark values guided by narrative and negative space. Beautiful patterns-within-patterns are integrated into this value strategy with his distribution of figurative forms (naked and clothed), similarly sized shapes and shape clusters, and perpendicular, implied lines of force.  Colors are full, varied and almost playful in their energy. Figures are rendered with a monumental, somewhat statue-like quality. Forms are quite idealized, elongated and simultaneously carry a sense of mass and motion. Wind-swept movement is implied in the flowing treatment of clothing edges, hair and implied lines of force. Great care was taken to develop the life-like textures of this series.

Modelling favors value variation over purity. Michelangelo expertly calibrates textural and edge details to further develop a subject’s relative placement in three-dimensional space. One of the measures he uses to imply depth, which does more to create an organizational framework for the entire series, is to compress the perspective applied to the architectural elements that separate the major sections of the fresco groupings. They place the viewer at specific front-on/oblique intervals along the longest axis of the chapel’s nave. 

The energy and weight of the individual scenes and “filler elements” are symmetrically balanced along both axis. Michelangelo is successful at presenting his narratives in a manner that is organized and easy for the observer to absorb. Globally, they carry roughly equal formal weight, emphasizing equal importance. Each are given their own “bubble” of space through directional and actual lines. 
Manipulation of the observer is masterful and complicated. This series of works, characterized by extreme and homogeneous formal sensitivity, relies on storytelling, subtle directions of force and value-developed subjective beauty to captivate its audience. Some formal sources of interest are the full and varied use of values and equivalence in occupied and unoccupied space. By placing these magnificent scenes high above the observer at a nearly impossible angle to view comfortably, Michelangelo has effectively separated, or at least subordinated, their role in this series. He has placed the word or allegory of God where it belongs, and his subjects accordingly in relation to this. 

Clearly building an essay on a work such as this would be ridiculous even for someone with developed instincts, the respect of her or his peers and formal recognition. Such a person would understand that a short novel would be required to cover what I’m attempting here, which is simply the overall formal aspects of the Sistine chapel’s ceiling. With what I’ve learned so far about the limitless aspects of formal artistic analysis, I am willing to make a risky statement by saying that after the collapse of the Roman Empire, visual art progressively gained complexity. That might sound obvious, and all artwork is challenging, but at and after the fourteenth century dissecting western visual expression gets pretty overwhelming.