Overall this is a work of rigidly-balanced design. Common animals (ie, non-fantastical
or hybrid) are shown in “perfect” profile and in mid-motion. They all
carry the same formatting, but are individually different in the details of
their rendering. They and the highly-abstracted framing devices are arranged to
a simple and consistent pattern system. |
Figures and plant-forms are simplified to such a severe degree that the entire mural approaches 20th century levels of objective abstraction. Providing a simple and pleasing decoration for large areas of flat space is the purpose behind this work, and it is quite successful at this.
While subjects are recognizable, the overall pattern is more important. It is built on three inseparable and beautifully blended elements: Shape, color and value. Colors contrast, and a basic split-complement swatch strategy is used with light gold-oranges against dense blues and midtoned greens. The interlocking values clarify the pattern more than anything else. The blocky rendering of the pattern repeats the medium that it is created on.
Pictorially, this work has strictly planar depth. The only hint at three-dimensionality is in how the figures are created in shallow relief against the flat background. A fore- and background relationship is maintained by using higher key values for the figures and plant forms. While low-key blues create clearly incised shapes, it is very clear that these are the backdrop. Pictorial weight is as orderly as its elemental formatting and sense of depth. Figure orientations create closed compositions, and depending on what specific surface the observer is viewing, symmetry ranges from static to approximate.
Figure orientation, size, an emphasis on natural forms and a severely limited, chromatic color palette bind this work together. Disharmony is nearly extinguished. Well-placed contrasting elements compromise areas of static background, and rounded forms clash against the perpendicular nature of the overall composition. A split-complement color scheme and juxtaposition of dense and light values are also strong methods of generating interest.
This work is diffuse in elemental and energy distribution. Because it is meant to provide pleasant visuals for an otherwise solid mass of “dead” space, no more than a passing interest is the intention. Forms and observer are meant to adjust to the picture plane; all design choices are made within the limitations of the “canvas”.
If the facsimile is to be taken at face value, it seems the Babylonians developed the barrel vault on par with the culture that is credited with its widespread use, the Romans. In addition, it is clear that this defensive work of architecture was meant to inspire awe by diminishing the size of foreign visitors. It serves all of the purposes of strong design: pleasant, predictable arrangement, sensitivity to space and effective distribution of color and value which create a strong, unified compositional whole.
Figures and plant-forms are simplified to such a severe degree that the entire mural approaches 20th century levels of objective abstraction. Providing a simple and pleasing decoration for large areas of flat space is the purpose behind this work, and it is quite successful at this.
While subjects are recognizable, the overall pattern is more important. It is built on three inseparable and beautifully blended elements: Shape, color and value. Colors contrast, and a basic split-complement swatch strategy is used with light gold-oranges against dense blues and midtoned greens. The interlocking values clarify the pattern more than anything else. The blocky rendering of the pattern repeats the medium that it is created on.
Pictorially, this work has strictly planar depth. The only hint at three-dimensionality is in how the figures are created in shallow relief against the flat background. A fore- and background relationship is maintained by using higher key values for the figures and plant forms. While low-key blues create clearly incised shapes, it is very clear that these are the backdrop. Pictorial weight is as orderly as its elemental formatting and sense of depth. Figure orientations create closed compositions, and depending on what specific surface the observer is viewing, symmetry ranges from static to approximate.
Figure orientation, size, an emphasis on natural forms and a severely limited, chromatic color palette bind this work together. Disharmony is nearly extinguished. Well-placed contrasting elements compromise areas of static background, and rounded forms clash against the perpendicular nature of the overall composition. A split-complement color scheme and juxtaposition of dense and light values are also strong methods of generating interest.
This work is diffuse in elemental and energy distribution. Because it is meant to provide pleasant visuals for an otherwise solid mass of “dead” space, no more than a passing interest is the intention. Forms and observer are meant to adjust to the picture plane; all design choices are made within the limitations of the “canvas”.
If the facsimile is to be taken at face value, it seems the Babylonians developed the barrel vault on par with the culture that is credited with its widespread use, the Romans. In addition, it is clear that this defensive work of architecture was meant to inspire awe by diminishing the size of foreign visitors. It serves all of the purposes of strong design: pleasant, predictable arrangement, sensitivity to space and effective distribution of color and value which create a strong, unified compositional whole.
No comments:
Post a Comment