The figures in this work display some of the slight, flat character and
gestural movements of middle-age art. There is clear development of
three-dimensional space, however, that defeats any planar nature the subjects
carry. The division of the overall work into three vertically-narrow scenes (a "triptych") is
ingenious as well. The left scene, through planes, arches and webbings, shows
the most developed spatial depth. Spatial order is alternately built in the
right scene, the most vertically-oriented, with the dual receding pattern
development. The primary subject and the most figurative interaction occurs in
the heiratically-dominant central panel. |
An honest attempt at naturalism is made in this piece but mature plastic modeling, value development and the overall depth-establishing strategies have not been developed yet. In fact, this work takes its place in the advancement of these techniques. The tone of this combination of scenes is orderly, causing the observer to take in the interactions between the individualized figures. In this way, it is intellectual and allegorical.
A tetradic color scheme based on value adjustments seems to be used, with warm reds and cool greens forming one leg and neutral oranges and blues forming the other. Well-developed perspective is clearly present. The most impressive component to this depth-defining technique is how well the artist rendered the volume within the webbings consistent with the overall use of linear perspective. The shapes are decorative in tone, and this is contradicted by the near-interpenetration of planes and moments of foreshortening.
Lines and edges are relied on to create interior volumes and a sense of receding depth to remarkable effectiveness. When this is compared to the figures and gestures of the subjects, a sort of mechanical balance is struck. There seems to be a mathematically-calculated tone in the architecture, motifs and patterns. Greens, reds and geometric shapes are diffused effectively and, when combined with the rich pattern of values, create a unified canvas.
All subjects are somewhat decorative, but they are value-developed to similar degrees, a source of mild tension. The importance of the virgin is emphasized through subtlety, the most desired variety. She is placed dead-center of the canvas (not so subtle), her dense form is highlighted by her surroundings, perspective lines converge to the center of her mass, and she is dressed in the manner of Byzantine royalty.
Gothic architectural elements define the canvas. The result is an unexpected strengthening of the illusion (trompe le’oil) that the observer is viewing the scene from outside and slightly to the right, looking through windows. The perspective is not physically possible, but the artist combines design and formatting so well that the illusion is achieved.
This work displays the unification characteristic of gothic art through perspective, its placement of the observer relative to the scene, biblical thematic imagery and attention-grabbing use of color and value arrangement. It shares qualities with mature classic Greek art in how its pictorial contradictions are visually accepted without distraction.
An honest attempt at naturalism is made in this piece but mature plastic modeling, value development and the overall depth-establishing strategies have not been developed yet. In fact, this work takes its place in the advancement of these techniques. The tone of this combination of scenes is orderly, causing the observer to take in the interactions between the individualized figures. In this way, it is intellectual and allegorical.
A tetradic color scheme based on value adjustments seems to be used, with warm reds and cool greens forming one leg and neutral oranges and blues forming the other. Well-developed perspective is clearly present. The most impressive component to this depth-defining technique is how well the artist rendered the volume within the webbings consistent with the overall use of linear perspective. The shapes are decorative in tone, and this is contradicted by the near-interpenetration of planes and moments of foreshortening.
Lines and edges are relied on to create interior volumes and a sense of receding depth to remarkable effectiveness. When this is compared to the figures and gestures of the subjects, a sort of mechanical balance is struck. There seems to be a mathematically-calculated tone in the architecture, motifs and patterns. Greens, reds and geometric shapes are diffused effectively and, when combined with the rich pattern of values, create a unified canvas.
All subjects are somewhat decorative, but they are value-developed to similar degrees, a source of mild tension. The importance of the virgin is emphasized through subtlety, the most desired variety. She is placed dead-center of the canvas (not so subtle), her dense form is highlighted by her surroundings, perspective lines converge to the center of her mass, and she is dressed in the manner of Byzantine royalty.
Gothic architectural elements define the canvas. The result is an unexpected strengthening of the illusion (trompe le’oil) that the observer is viewing the scene from outside and slightly to the right, looking through windows. The perspective is not physically possible, but the artist combines design and formatting so well that the illusion is achieved.
This work displays the unification characteristic of gothic art through perspective, its placement of the observer relative to the scene, biblical thematic imagery and attention-grabbing use of color and value arrangement. It shares qualities with mature classic Greek art in how its pictorial contradictions are visually accepted without distraction.
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