Pattern and ambiguity predominate. There are multiple perspectives; the dome
and stars are presented as being viewed from outside but the roof and the walls
supporting it switch between convergent perspective (inside the building) and
maintaining the outside view. An ornate pointed arch presents the events inside
but the adherence to maintaining patterns causes the lower figures to either
stand on solid ground or float in space. |
I believe the intention of this painting is to offer the observer an insight into the subject’s domestic lifestyle, enjoying a typical evening at home. This becomes incidental to the development of motifs and patterns, which vary in overall development. Because this work favors textures and patterns over an optical reflection, I would consider this a work of realistic abstraction. An important detail of this work is, in the dome, evidenced of the tremendous influence of Byzantine architecture, specifically the Hagia Sofia, had on Muslim cultural development, the Ottoman Turks more specifically.
Line is relied on to define shapes. Patterns sensitive to their internal spatial layout overpower the shapes that create them. There does not seem to be a specific color scheme to organize the somewhat subjective colors used, but their arrangement, and that of this work’s values, shows planning.
Depth is quite tricky in this painting. A form of perspective that switches between non-convergent and divergent is built on the outer edges of the building and in the confusion those edges generate with their contact with the frame. Simultaneously, architectural forms are forced into a flattened shape, and others allow access inside the building. That access, based on an ornate pointed arch, reveals more ambiguity based on the conflict between choices that lend themselves towards spatial depth and those that flatten it. Convergence is present, however forms are forced onto the medium surface. Patterns and textures do not take the form of the objects they are applied to, yet their relative embellishment causes some of the more ornate patterns to seem to float in front of the observer. This creates a depth-to-shallow-to-depth sequence, with the cycle possibly repeating again.
The picture plane is nearly reflected along a vertical axis line that divides it in equal horizontal halves. Details change, but the sums of their weights, their formatting and their spatial arrangements are effectively equivalent.
Lines lock values and colors within their areas, underscoring the overwhelmingly decorative and ordered feel of this painting. All forms have some mechanical feel to them, ranging to purely geometric. While straight and curved edges play off each other from top-to-bottom, curved tend to have a rounded development. Straight edges are formatted at predictable 45-degree angles. The full range of values is used, but dark tones are more numerous, which is consistent with the late evening tone of the work.
I believe the intended center of interest is the interaction between the central figures. Besides the gestural recognizability, the sharpest contrasts in tone are found between the faces and the patterned background created by the enormous pillow behind them. Multiple perspectives are present. This causes undeniable conflict between any one area attracting attention against the viewer’s eyes constantly scanning the entire picture plane. In addition, forms are simple, for the most part, however the colorful patterning found within the spacious, cut-away chamber are quite ornate.
This work’s experimentation with pictorial depth is clearly its defining characteristic. Personally, I believe the formal choices that create this painting’s unique spatial ambiguity were deliberate. The reason why is because the mood of the scene is serene, but because the artist created areas that switch between being grounded and requiring grounding, unmistakable energy, and therefore interest, are generated. The mood of the work is relaxing, but the elemental confusion causes tension between harmony and interest in a way that is rare to find in fine art.
I believe the intention of this painting is to offer the observer an insight into the subject’s domestic lifestyle, enjoying a typical evening at home. This becomes incidental to the development of motifs and patterns, which vary in overall development. Because this work favors textures and patterns over an optical reflection, I would consider this a work of realistic abstraction. An important detail of this work is, in the dome, evidenced of the tremendous influence of Byzantine architecture, specifically the Hagia Sofia, had on Muslim cultural development, the Ottoman Turks more specifically.
Line is relied on to define shapes. Patterns sensitive to their internal spatial layout overpower the shapes that create them. There does not seem to be a specific color scheme to organize the somewhat subjective colors used, but their arrangement, and that of this work’s values, shows planning.
Depth is quite tricky in this painting. A form of perspective that switches between non-convergent and divergent is built on the outer edges of the building and in the confusion those edges generate with their contact with the frame. Simultaneously, architectural forms are forced into a flattened shape, and others allow access inside the building. That access, based on an ornate pointed arch, reveals more ambiguity based on the conflict between choices that lend themselves towards spatial depth and those that flatten it. Convergence is present, however forms are forced onto the medium surface. Patterns and textures do not take the form of the objects they are applied to, yet their relative embellishment causes some of the more ornate patterns to seem to float in front of the observer. This creates a depth-to-shallow-to-depth sequence, with the cycle possibly repeating again.
The picture plane is nearly reflected along a vertical axis line that divides it in equal horizontal halves. Details change, but the sums of their weights, their formatting and their spatial arrangements are effectively equivalent.
Lines lock values and colors within their areas, underscoring the overwhelmingly decorative and ordered feel of this painting. All forms have some mechanical feel to them, ranging to purely geometric. While straight and curved edges play off each other from top-to-bottom, curved tend to have a rounded development. Straight edges are formatted at predictable 45-degree angles. The full range of values is used, but dark tones are more numerous, which is consistent with the late evening tone of the work.
I believe the intended center of interest is the interaction between the central figures. Besides the gestural recognizability, the sharpest contrasts in tone are found between the faces and the patterned background created by the enormous pillow behind them. Multiple perspectives are present. This causes undeniable conflict between any one area attracting attention against the viewer’s eyes constantly scanning the entire picture plane. In addition, forms are simple, for the most part, however the colorful patterning found within the spacious, cut-away chamber are quite ornate.
This work’s experimentation with pictorial depth is clearly its defining characteristic. Personally, I believe the formal choices that create this painting’s unique spatial ambiguity were deliberate. The reason why is because the mood of the scene is serene, but because the artist created areas that switch between being grounded and requiring grounding, unmistakable energy, and therefore interest, are generated. The mood of the work is relaxing, but the elemental confusion causes tension between harmony and interest in a way that is rare to find in fine art.
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