The framework organizing the scenes is church architecture in the gothic style.
The subjects are described in individual cells, a technique common to the artistic
era. A minor break from the general use of this style is the use of solid areas
of space, meaning not all possible space is soaked in decoration or designs.
Subjects and forms are diffuse with exception of the enlarged figures of the lower
register and the center cell. This diffusion is supported by a masterful global color and tone pattern.
The content of the scenes varies widely in mood. Subjects include the
Crucifixion, torture, murder and more peaceful events blessed by angels (eg,
upper-left-most panel). The overall effect of this work, beyond story telling,
is portraiture. |
This work verges on realism but must be considered semi-abstract because form flattening in favor of mood and eye movement control is present. Design applies, but not rigidly to. Forms are naturally arranged in pictorial space with light modeling. This work is a masterful interlocking arrangement of divergent, discrete values (primarily) in combination with an ordered complementary color scheme (secondarily). A handful of patterns reveal themselves and melt back into the canvas. Generally, the colors are not applied on purity scales but on specific swatches.
Perpendicular angles and motion characterize the sense of pictorial balance, but it leans towards a vertical flow because the canvas dimensions favor that direction. There is a sense of spatial volume, or a certain airiness, in the scenes but because of the massive architectural elements and figurative value pattern, this work has a certain weight to it.
Interest is not built mainly through formal differences. Borrassá has used his skills of expression to tie together what would normally be isolated narratives vertically and horizontally. They are formally characterized by dominance of specific values (terminals and a single midtone), glowing warmth and decoration. There is subordinated contrast between elongated, figurative, gestural and airy architectural shapes and spaces. Repeated forms are found throughout, lacing the work with both perpendicular and curved patterns.
Because of the distribution of motion, energy and masses are diffuse in nature, hieratic scale tends to organize areas of focus. This occurs in the central panel, with the over-enlarged figure prepared for combat, and the figures in the lower register which include the trininty. Secondarily, gestures and lines of sight create a series of closed compositions, including a single vast one.
Both the position of the observer and treatment of the picture frame have to be considered on a cell-to-cell basis. Basically, for most, the observer is on the other side of the space-spanning framing element, sort of eavesdropping on the narrative. The overall result is that the canvas is organized like a massive gothic cathedral, revealing its story from clerestory to arcade.
Borassa’s mastery in this work is shown in how he has bound the entire canvas together using repeated dense and midtoned-red figurative forms layered on top of light, illusionistically-deep and high value architectural shapes. His formal choices generate movement and interest and only support the narrative, which is primary to this work, not overpowering it. Virgin and Saint George is a strong example of capturing interest consistent with an instinctual sense of order within the observer, one of the greatest challenges of any artistic practice.
This work verges on realism but must be considered semi-abstract because form flattening in favor of mood and eye movement control is present. Design applies, but not rigidly to. Forms are naturally arranged in pictorial space with light modeling. This work is a masterful interlocking arrangement of divergent, discrete values (primarily) in combination with an ordered complementary color scheme (secondarily). A handful of patterns reveal themselves and melt back into the canvas. Generally, the colors are not applied on purity scales but on specific swatches.
Perpendicular angles and motion characterize the sense of pictorial balance, but it leans towards a vertical flow because the canvas dimensions favor that direction. There is a sense of spatial volume, or a certain airiness, in the scenes but because of the massive architectural elements and figurative value pattern, this work has a certain weight to it.
Interest is not built mainly through formal differences. Borrassá has used his skills of expression to tie together what would normally be isolated narratives vertically and horizontally. They are formally characterized by dominance of specific values (terminals and a single midtone), glowing warmth and decoration. There is subordinated contrast between elongated, figurative, gestural and airy architectural shapes and spaces. Repeated forms are found throughout, lacing the work with both perpendicular and curved patterns.
Because of the distribution of motion, energy and masses are diffuse in nature, hieratic scale tends to organize areas of focus. This occurs in the central panel, with the over-enlarged figure prepared for combat, and the figures in the lower register which include the trininty. Secondarily, gestures and lines of sight create a series of closed compositions, including a single vast one.
Both the position of the observer and treatment of the picture frame have to be considered on a cell-to-cell basis. Basically, for most, the observer is on the other side of the space-spanning framing element, sort of eavesdropping on the narrative. The overall result is that the canvas is organized like a massive gothic cathedral, revealing its story from clerestory to arcade.
Borassa’s mastery in this work is shown in how he has bound the entire canvas together using repeated dense and midtoned-red figurative forms layered on top of light, illusionistically-deep and high value architectural shapes. His formal choices generate movement and interest and only support the narrative, which is primary to this work, not overpowering it. Virgin and Saint George is a strong example of capturing interest consistent with an instinctual sense of order within the observer, one of the greatest challenges of any artistic practice.
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