I believe this piece displays a variety of graceful and consistent formal
choices. The elongated rendering of the figures matches the slender, feminine
shape of the vase. Purely geometric framing patterns contrast pleasingly
against the figurative register scene. Hieratic scale, orientation, gesture and
formal details, specifically color, highlight the station differences between
the figures. |
There are a number of formal choices that seem to have been made “in the workflow”. However, the combination of design and figure, the orientation of the figures in relation to each other, the complementary character of the rendering and the vessel it is placed on lead me to consider this a calculated work of realistic abstraction. I believe creating a sense of harmony between figures and vessel is more of a priority than delivering a message.
When referring to the painted depiction value outworks color. A monochromatic, dull orangish-red color scheme is at work. A sort of sepia effect can be seen in the densest areas (terminals of the vase, hair of the figures and patterning) and in the background. Variations in this color scheme’s value give pictorial weight to the figurative shapes. Pictorial depth is not as flat as the framing motifs. More than anything, the tension both figures place on the lower framing device relate these two figures together in space. Foreshortening and the mutual gestures of both offer some continuance between the two.
Warmth and femininity dominate this work. These qualities are seen in the graceful, slender development of the lekythos itself and in the register rendering. A wide value range is employed, with specific “stops” at the extreme terminals (framing, background) and two or three intermediaries. Value seems to be an attempted source of balance in this work. Hieratic scale similar to Menkaura and a Queen applies; the dominant figure is slightly larger and more developed than the subordinate. This is a vertically-oriented work that is asymmetrically balanced to the right side, but overall formal choices favor harmony.
Line consistently defines shapes and sparse details within them. Depending on their location they are either dense or match the background. The slight formatting of the subordinate figure causes her to nearly blend with the pictorial background, throwing off the balance of space in favor of negative, and further emphasizing the matron-figure.
While both figures are rendered in the same elongated style and both carry similar dense hair styles, formal treatment alone places the elder figure above the younger in importance. Variations in value and the fact that there is any color formatting at all elevate her. Layered on top of this is her higher line of sight, larger frame and orientation away from the subordinate figure, who is gesturing towards the elder.
According to credible sources, this was a funerary vessel. If so, clearly it was for the formally developed matron depicted in the scene. It seems that she wanted to emphasize her social and/or political status upon her passing. Formally, the full body of this work blends the traits of the vessel together with it’s decoration and register scene flawlessly.
There are a number of formal choices that seem to have been made “in the workflow”. However, the combination of design and figure, the orientation of the figures in relation to each other, the complementary character of the rendering and the vessel it is placed on lead me to consider this a calculated work of realistic abstraction. I believe creating a sense of harmony between figures and vessel is more of a priority than delivering a message.
When referring to the painted depiction value outworks color. A monochromatic, dull orangish-red color scheme is at work. A sort of sepia effect can be seen in the densest areas (terminals of the vase, hair of the figures and patterning) and in the background. Variations in this color scheme’s value give pictorial weight to the figurative shapes. Pictorial depth is not as flat as the framing motifs. More than anything, the tension both figures place on the lower framing device relate these two figures together in space. Foreshortening and the mutual gestures of both offer some continuance between the two.
Warmth and femininity dominate this work. These qualities are seen in the graceful, slender development of the lekythos itself and in the register rendering. A wide value range is employed, with specific “stops” at the extreme terminals (framing, background) and two or three intermediaries. Value seems to be an attempted source of balance in this work. Hieratic scale similar to Menkaura and a Queen applies; the dominant figure is slightly larger and more developed than the subordinate. This is a vertically-oriented work that is asymmetrically balanced to the right side, but overall formal choices favor harmony.
Line consistently defines shapes and sparse details within them. Depending on their location they are either dense or match the background. The slight formatting of the subordinate figure causes her to nearly blend with the pictorial background, throwing off the balance of space in favor of negative, and further emphasizing the matron-figure.
While both figures are rendered in the same elongated style and both carry similar dense hair styles, formal treatment alone places the elder figure above the younger in importance. Variations in value and the fact that there is any color formatting at all elevate her. Layered on top of this is her higher line of sight, larger frame and orientation away from the subordinate figure, who is gesturing towards the elder.
According to credible sources, this was a funerary vessel. If so, clearly it was for the formally developed matron depicted in the scene. It seems that she wanted to emphasize her social and/or political status upon her passing. Formally, the full body of this work blends the traits of the vessel together with it’s decoration and register scene flawlessly.
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