Sassetta (c.1440). The Meeting of Saint Anthony and Saint Paul [tempura on panel]. Samuel H. Kress Collection. © Board of Trustees, National Gallery of Art, Washington.

I believe this work “reads” consistent with western writing. Ie, the painting is a narrative, the figure of Saint Anthony passing along the picture plane in pace with the forest motif, until the “end” of the story where he meets the second figure. This work shows the developing sense of perspective specific to western art of the Renaissance. |

The subject of this work is the figure of Saint Anthony and his embrace of Saint Paul, both elevated in focus by the glowing halo around their heads and more subtly by Sassetta’s use of value. The content is the story that is described by the painting. This is done with tempura on wood paneling. Shape and color are the primary visual elements used in this work. One can see Romanesque and even Byzantine influences quite clearly, but at the same time there is a strong push in the direction of naturalism that would be perfected by numerous cultural centers in the unfolding centuries.

The illusion of depth is intermediate, yet typical of the period, and absolutely necessary. It is because of works like this that complicated multipoint perspective would be possible in the decades to follow. Diminution and a strong impression of a light source are the primary ways depth is created. Pictorial balance is stable and secondary to the narrative. The activity of the main figure is emphasized by strong contrasts in tone and color. This work has a strong impression of horizontal and vertical elements playing off each other. This is contrasted somewhat by the gentle, flowing curvature of the path and hills the figures travel upon and behind. Because of the setting (a wondering forest), the work is dominated by non-mechanical forms, but in this gestural play off natural.

I would argue that centers of attention and eye movement are the primary “reasons” for this work. As described before, the eye follows the path of the first saint, inviting the viewer to join him in his travels. The tilt of view is somewhat extreme, placing the horizon line so far up on the picture plane that the sunset sky functions as a frame component. In fact, it has a motif design embedded in it, similar to one typical of frames.

This work has many strengths. Two I would place above all others: First, an impression of time is created with the tree pattern, seamlessly supporting Saint Anthony’s journey. Second, Sassetta’s choices of building emphasis on the figures (color, value contrasts) are difficult to identify (at least for me) but very effective. Overall this is a satisfying, unified work that is exceedingly effective at controlling attention.