The archangel Michael and the Virgin meet for the first time, assuming
reflecting poses of reverence from each other. Interior negative space is
thoroughly developed. |
Two figures assuming prostrating poses in a closed stance are the subject. This work is an example of full linear perspective within the time
period it was developed. The horizon line is near the lateral balancing axis of
the canvas, placing the vanishing point just to the right of the figure on the
left. Light, airy colors and value development characteristic of the
renaissance (“pre-tenebristic”) define shapes. The
arrangement of flat surfaces, shadows, windows and figures create a loose,
pleasing texture pattern.
A double-line of receding pilasters almost literally
support the canvas. This work might not be symmectrically organized, but it is
rigidly stable. Straight, edge-defined architectural shapes are contrasted by living figurative
ones. Full, balanced values are used.
The figure to the left is basically highlighted; that is, it is surrounded by
denser tones, and the lighter treatment of this figure creates the most
contrast to be found, attracting attention there first. The vanishing point supports
this eye movement. The expressive quality and near-reflection of the poses place the second center of attention on the figure of the Virgin. The illusion of the position of the observer is a solid strength of this
painting. The edges of the canvas run parallel (and support) the straight edges
rendered in the painting.
Botticelli’s use of linear perspective create a solid
framework for developing the areas and details on the canvas. The result is a spatially
believable, if somewhat stiff, work of art.
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