The diluted colors
and contrasts could be due to the medium and the age of this work. Clear
simplification is present, perhaps to support the idea that skilled government
“orders” the countryside as shown. There is more than a hint of realism, but
abstraction overrules. The arrangement of figures both in the foreground and
background imply that they should almost be “read”, from left to right.
Due to the effects of time on the medium, color purity is foremost. If not for the pinkish mechanical figures and moments of bright red, purity would not be as noticeable because of the generous use of diluted color. Pattern unifies the composition as well, though not in an obvious way because of how it morphs from mechanical to organic shapes from left to right. This has an interesting affect on this work’s texture because it gives it an overall tactile impression, as opposed to specific textures being applied to individual areas and shapes.
Depth is clearly implied, however the flatness of shapes and the eroding of contrasts (especially in value) tend to defeat this. Therefore, pictorial depth is a source of conflict in this piece. Diminution, atmospheric perspective and adjustment of details are the primary measures Lorenzetti uses to imply receding space. There are some interesting gestalt relationships developed to create order on the village edge, above it to the farmland, and off into the distance where the landscape transitions from development to wilderness.
A small proportion of artificial, mechanical shapes dominate a large population of rolling, natural ones. One of the traits of this work that separates it from many of the era is Lorenzetti’s blending of sharply-defined and amorphous forms. Overall, the formatting choices he uses are applied consistently with reasonable variation, but in the end stability is heavily favored.
The incised definition of the buildings to the far-right generate most interest on the “country” side of this composition. It works in a cross-directional orientation to the overall flow of this half of the work and is formatted with a discordant pink hue. The directionality of the gate and figures pouring from it pull attention into the countryside. (Note: Up to this point, I split the total composition in half and analyzed the right half, meaning this criticism is compromised because it only takes into consideration half of the total work).
Due to the effects of time on the medium, color purity is foremost. If not for the pinkish mechanical figures and moments of bright red, purity would not be as noticeable because of the generous use of diluted color. Pattern unifies the composition as well, though not in an obvious way because of how it morphs from mechanical to organic shapes from left to right. This has an interesting affect on this work’s texture because it gives it an overall tactile impression, as opposed to specific textures being applied to individual areas and shapes.
Depth is clearly implied, however the flatness of shapes and the eroding of contrasts (especially in value) tend to defeat this. Therefore, pictorial depth is a source of conflict in this piece. Diminution, atmospheric perspective and adjustment of details are the primary measures Lorenzetti uses to imply receding space. There are some interesting gestalt relationships developed to create order on the village edge, above it to the farmland, and off into the distance where the landscape transitions from development to wilderness.
A small proportion of artificial, mechanical shapes dominate a large population of rolling, natural ones. One of the traits of this work that separates it from many of the era is Lorenzetti’s blending of sharply-defined and amorphous forms. Overall, the formatting choices he uses are applied consistently with reasonable variation, but in the end stability is heavily favored.
The incised definition of the buildings to the far-right generate most interest on the “country” side of this composition. It works in a cross-directional orientation to the overall flow of this half of the work and is formatted with a discordant pink hue. The directionality of the gate and figures pouring from it pull attention into the countryside. (Note: Up to this point, I split the total composition in half and analyzed the right half, meaning this criticism is compromised because it only takes into consideration half of the total work).
To summarize both halves of this work, I must paraphrase Marilyn Stockstad. The
cityscape-half of this composition does not qualify for two-point perspective,
but in the planar arrangement of its constituents a tone of believability is
achieved. Reinforcing this is the standard-setting (for its time) application
of scale when the population is related to architecture and portals. Formally,
Lorenzetti has developed a beautiful intermingling of warm/cool colors and
light/dense tones.
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