The sight lines of the figures and the edges that define those figures create a
sort of swirling motion flowing in the direction of the deceased Christ. The composition
seems to be divided in half, the division created through extreme contrast in
value from the sky to the cave entrance down to the portions of the tomb that
are washed in light versus shadow. |
The subject of this work is the reverent, delicate placement of Christ into his
resting place. Both the heavens and the living aid in the task, an air of
wailing sorrow mingled with the labor. Shapes characterized by flesh, stone and cloth interlock in this composition.
Value defines edges, and to a lesser extent color. The combination of value and
color create an intuitive, pleasing value pattern that is actually quite
extreme. Ivories and reds relate across the canvas, otherwise I cannot identify
a color strategy.
Overlapping arrangement builds a sense of space. Rich use of value, especially in
rendering flesh and cloth, carries most of the depth-defining workload. While there is emotional tension present, the figures
create a stable and solitary block compositionally. Value is emphasized more than color, and the full range is used. Dense and
light values and colors create interest in their equivocal proportions.
Near-balance between flesh and cloth creates more harmony than tension.
The arrangement of the twisting figures, the action of their limbs and their
sight lines direct eye movement to the torso and face of Christ. The picture frame emphasizes the elliptical nature of the gestural, sight and
direction lines.
This master work is one of a handful that introduce chiaroscuro to fine art.
While this particular work is not solidly within the definition of the word, it
certainly displays qualities of it. One example of this is the use of terminal
tones than mid-tones.
No comments:
Post a Comment