The
extent of this work is encapsulated in the story it tells and the expert, balanced use of positive and
negative space. The calm energy of Artemis and agony of her prey are clearly communicated. |
Forms are typical of the red-figure technique used in mature Greek classical art: Stark value contrast between black and beige-red with forms characterized by brevity. The scene itself tells the title story. At its most basic level the lesson seems to be that in the simple day-to-day course of life, bad luck can lead to an undeserving and brutal end.
The value/space blend carries this work. Line and texture support the balanced application of positive and negative space. Forms are flattened beyond decoration to the “canvas” surface and conform to its curvature. In spite of that action, fractional representation in the ancient sense does not apply here; there is a break from the use of that visual device in favor of a fresh sense of movement and energy coursing through the forms.
Due to the framing motifs and the action of the figures, the eye is drawn in a horizontal manner across the scene. Generally, more emphasis is placed on the “active” (left) figure, then to the “reactive” (right).
A strong contrast in achromatic values and equivalency in positive and negative space leap off the surface. Lines define secondary shapes (shapes within shapes). All shapes are incised with minor contrast in their size. Compositionally, this work is closed; one figure gestures in, the other up, all framed with a geometric pattern. It is nearly militaristic in its austerity.
One of the clear themes of this work is the conflict of the feminine overpowering the masculine in both mastery over nature and strength. One would have to be familiar with the story to understand both figures are opposites in their mortality. Remarkable realistic detail is developed despite the almost planar nature of the figures; this execution is easily found on full-sculpture works of the era, and a characteristic trait of Greek Mature Classical creations.
Forms are typical of the red-figure technique used in mature Greek classical art: Stark value contrast between black and beige-red with forms characterized by brevity. The scene itself tells the title story. At its most basic level the lesson seems to be that in the simple day-to-day course of life, bad luck can lead to an undeserving and brutal end.
The value/space blend carries this work. Line and texture support the balanced application of positive and negative space. Forms are flattened beyond decoration to the “canvas” surface and conform to its curvature. In spite of that action, fractional representation in the ancient sense does not apply here; there is a break from the use of that visual device in favor of a fresh sense of movement and energy coursing through the forms.
Due to the framing motifs and the action of the figures, the eye is drawn in a horizontal manner across the scene. Generally, more emphasis is placed on the “active” (left) figure, then to the “reactive” (right).
A strong contrast in achromatic values and equivalency in positive and negative space leap off the surface. Lines define secondary shapes (shapes within shapes). All shapes are incised with minor contrast in their size. Compositionally, this work is closed; one figure gestures in, the other up, all framed with a geometric pattern. It is nearly militaristic in its austerity.
One of the clear themes of this work is the conflict of the feminine overpowering the masculine in both mastery over nature and strength. One would have to be familiar with the story to understand both figures are opposites in their mortality. Remarkable realistic detail is developed despite the almost planar nature of the figures; this execution is easily found on full-sculpture works of the era, and a characteristic trait of Greek Mature Classical creations.
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