There is stark use of values; they seem to be based on pure black spatially arranged to
offer graduations rather than specific “stops” of gray. Horizontal orientation
is supported by the repeating feminine forms and the motif embedded in the
framing design. My guess is the image is meant to take its place in a visual narrative,
and that this orientation, flow and the rightward gestures of the figures to the edge
are meant to direct the observer to the next arrangement of information. |
This work appears to have been created for and by private citizens and not necessarily for more official patrons. It is similar in purpose to the earliest discovered renderings of mankind, which were foremost believed to be used to spread information. In this case, it aids the telling of the title story, and pictures important individuals in that story.
Clearly value defines this entire work. The white positive and dense negative area pattern and “canvas” orientation, in combination, are certainly strengths. Texture takes on the effortless character of the entire composition, binding the work together.
A distinct decorative manner characterizes this work’s pictorial depth. While figures are quite recognizable, close inspection of the shapes that create them reveal them to be almost planar. Because of how this work defines open space and the water of the pool (corrected to be the Nile), more volume is successfully implied. This work relies on gestalt principles for its unity as well. Global treatment of details and textures support the flattened pictorial nature. Static asymmetry with mild horizontal movement applies.
A sharp division in value defines this work, more than any other measure, by a wide margin. Midtones are effectively eliminated. Active shapes are figurative; supportive are geometric. They are harmonized by orientation and formatting (planar, size, feminine). The roughly balanced ratio of positive and negative space binds more than conflicts.
The horizontal “flow” of this painting is created by the frame design, canvas orientation and especially the pattern created by the figures. The figure with the baby is overwhelmed by the nearly-pure white highlight of the water. It’s possible the “second” baby held by the two women to the left of the canvas are holding the same baby, implying the passage of time. I would argue this region of the painting creates its first specific area of interest.
One of the defining characteristics of this work is how the figures engage with the viewer in an air and mood of celebration and joy. All face the observer, some with arms open, and others politely guiding through gestures.
This work documents the narrative of Exodus 1:8 to 2:10 and shows clear connections with works of the ancient Near East and Egypt. It is thought that early Christian and Hebrew works such as this one, created in the context of Imperial Rome, influenced the styles of Byzantine art. This can be seen in the gradual shift in abstraction from idealistic realism to simplification during the fourth and fifth centuries, the period which saw the Western Empire crumble.
This work appears to have been created for and by private citizens and not necessarily for more official patrons. It is similar in purpose to the earliest discovered renderings of mankind, which were foremost believed to be used to spread information. In this case, it aids the telling of the title story, and pictures important individuals in that story.
Clearly value defines this entire work. The white positive and dense negative area pattern and “canvas” orientation, in combination, are certainly strengths. Texture takes on the effortless character of the entire composition, binding the work together.
A distinct decorative manner characterizes this work’s pictorial depth. While figures are quite recognizable, close inspection of the shapes that create them reveal them to be almost planar. Because of how this work defines open space and the water of the pool (corrected to be the Nile), more volume is successfully implied. This work relies on gestalt principles for its unity as well. Global treatment of details and textures support the flattened pictorial nature. Static asymmetry with mild horizontal movement applies.
A sharp division in value defines this work, more than any other measure, by a wide margin. Midtones are effectively eliminated. Active shapes are figurative; supportive are geometric. They are harmonized by orientation and formatting (planar, size, feminine). The roughly balanced ratio of positive and negative space binds more than conflicts.
The horizontal “flow” of this painting is created by the frame design, canvas orientation and especially the pattern created by the figures. The figure with the baby is overwhelmed by the nearly-pure white highlight of the water. It’s possible the “second” baby held by the two women to the left of the canvas are holding the same baby, implying the passage of time. I would argue this region of the painting creates its first specific area of interest.
One of the defining characteristics of this work is how the figures engage with the viewer in an air and mood of celebration and joy. All face the observer, some with arms open, and others politely guiding through gestures.
This work documents the narrative of Exodus 1:8 to 2:10 and shows clear connections with works of the ancient Near East and Egypt. It is thought that early Christian and Hebrew works such as this one, created in the context of Imperial Rome, influenced the styles of Byzantine art. This can be seen in the gradual shift in abstraction from idealistic realism to simplification during the fourth and fifth centuries, the period which saw the Western Empire crumble.
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