(artist unknown, located at Akrotiri, Thera) (c.1700-1450 bc). Young Girl Gathering Saffron Crocus Flowers [wall painting]. Thera Foundation, Petros M. Nomikos, Greece.

Simply put, this painting is beautiful, elementally arranged to near-perfection, and infused with a vitality that is not common in highly decorative depictions, even in it’s aged, damaged condition. Of particular effectiveness is how clothing edges, limbs and implied motion are gracefully and evenly-paced, infusing this work with movement and energy. I see a series of shapes vying for attention over the overall subject. | 

I would make the argument that the arrangement, incision and spacing of the elements, primarily line (and by extension the shapes they create) are quite deliberately calculated, just short of being measured and positioned according to a cannon. This is in opposition to an unplanned, instinctual rendering of the subject. Edges seem to radiate outward and spacing is so intuitive that the elements individually vie for attention over the total subject. In spite of the aged nature of this wall painting, it is crystal-clear that the creators had an understanding of the use of patterns and textures, which seem to be imitated by medieval European works. A simple story is beautifully and concisely told. 

The overall figure is constructed of decorative, curved shapes which switch between lushly colored and colorless. Value too varies from area to area. The dress of the figure is embellished with simple, abstract textures and jewelry that fully support the curved rhythm created by her limbs, gaze and shape edges. Though flat, the subject teems with energy.

Near-fractional representation applies with the figure's far limbs, but her pose is natural enough to avoid this. Details and textures are formatted consistently regardless of their location. There is much angled energy pictorially, but this work is quite stable.

Natural forms are counter-balanced against artificial. The textural development is typical of the era, but supports the subject nicely. If seen when freshly painted, there would no doubt be a pleasing juxtaposition of values and contrasting orange-reds and blues. Elemental differences are subordinate to the overall organization and organic energy that dominates. 

The subject is singular and this leaves room for the center of interest and nothing else. If I were to make an argument for a specific set of details or detail pulling attention, it would be the abstract, vertically-curved pattern the textured shapes create. The depicted is an example of one of the main differences between the Aegean perspective and the surrounding ancient cultures of the time. The subject is a casual human activity, which was not unheard of, but certainly not common. This is a perfect work to decorate a comfortable sun-baked residence.