This
cover is hideous in its gaudiness. Formally, it is built on a wide grid system
and nearly reflects by both dimensions. This cover has less than sparse
variation and contains all of the least desirable components of stability. |
Heavy use of precious gems and rigid perpendicular elemental arrangement create a work that leans toward abstraction. The figures are stylized but do contain some naturalism. As is typical of the era, the use of jewelry and precious metals (especially gold) implies the realm of heaven, a sense of warmth and beauty that can only be hinted at and never described.
The elemental structure and arrangement are built on a simple and open grid system. Shapes and colors conform to a pattern built on this grid. In handling this work, the dimension of space asserts itself because of how the precious stones are embedded into the “canvas” and the use of repoussȇ. This is the basis of the work’s texture, both physical and visual. The figurative shapes are formatted with a lush sense of depth because of how the polished gold creates dramatic highlights and shadows, on top of the literal depth the embossing creates.
Pictorially, this work is effectively reflected both horizontally and vertically. The format (gospel, or more generally “book”) orients vertically. It divides along a central horizontal axis line, supported by Christ’s arms, dividing the heavenly (upper) and earthly (lower) fields.
Lengthy figurative, natural shapes are contrasted against figurative embossed and roughly geometric ones. Gems are arranged in such a way that small frame large. Detail and depth within the human forms are established through value. The color scheme sets the cool gems against the warm field of gold. Positive space further dominates; areas that would provide rest are crowded with precious gems.
Hieratic scale controls eye movement; clearly the Crucifixion is the center of interest. All other figures are adjusted in size, emotion and orientation to direct energy there. With so much opulence formatting both the fore- and backgrounds, it’s difficult to find an area of “rest”, but the field of gold does qualify.
The “canvas” is viewed from straight on. When considering the boundaries of this work, strong design fully applies. The outer edges are repeated when working out-to-in by the pure arrangement of stones, followed by the embossing framework that defines the stage for the cross. While the overabundance of gold and gems are offensively garish to me, their arrangement and rhythm are more than sound from a design perspective.
This component to the Lindau Gospels (the cover) is believed by experts to have been created for a previous work and “repurposed”. Overall, this work layers harmony established through minor differences on top of harmony through balance. The declining hieratic scale, from the Christ-figure, to the figures and angels, and last to the field of gems, foreshadows the statue-like figure development and nearly architectural arrangement that would characterize Renaissance painting.
Heavy use of precious gems and rigid perpendicular elemental arrangement create a work that leans toward abstraction. The figures are stylized but do contain some naturalism. As is typical of the era, the use of jewelry and precious metals (especially gold) implies the realm of heaven, a sense of warmth and beauty that can only be hinted at and never described.
The elemental structure and arrangement are built on a simple and open grid system. Shapes and colors conform to a pattern built on this grid. In handling this work, the dimension of space asserts itself because of how the precious stones are embedded into the “canvas” and the use of repoussȇ. This is the basis of the work’s texture, both physical and visual. The figurative shapes are formatted with a lush sense of depth because of how the polished gold creates dramatic highlights and shadows, on top of the literal depth the embossing creates.
Pictorially, this work is effectively reflected both horizontally and vertically. The format (gospel, or more generally “book”) orients vertically. It divides along a central horizontal axis line, supported by Christ’s arms, dividing the heavenly (upper) and earthly (lower) fields.
Lengthy figurative, natural shapes are contrasted against figurative embossed and roughly geometric ones. Gems are arranged in such a way that small frame large. Detail and depth within the human forms are established through value. The color scheme sets the cool gems against the warm field of gold. Positive space further dominates; areas that would provide rest are crowded with precious gems.
Hieratic scale controls eye movement; clearly the Crucifixion is the center of interest. All other figures are adjusted in size, emotion and orientation to direct energy there. With so much opulence formatting both the fore- and backgrounds, it’s difficult to find an area of “rest”, but the field of gold does qualify.
The “canvas” is viewed from straight on. When considering the boundaries of this work, strong design fully applies. The outer edges are repeated when working out-to-in by the pure arrangement of stones, followed by the embossing framework that defines the stage for the cross. While the overabundance of gold and gems are offensively garish to me, their arrangement and rhythm are more than sound from a design perspective.
This component to the Lindau Gospels (the cover) is believed by experts to have been created for a previous work and “repurposed”. Overall, this work layers harmony established through minor differences on top of harmony through balance. The declining hieratic scale, from the Christ-figure, to the figures and angels, and last to the field of gems, foreshadows the statue-like figure development and nearly architectural arrangement that would characterize Renaissance painting.
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