This is a work of design. Orderly arrangement is obvious. The dramatic substantiality of the Virgin, her central location and the net effect of implied directional forces make her a formidable presence. Beyond this gathering of formal energy is a graphic design-like patterning of circular and figurative shapes, warm colors and high-key values. A consistent sense of simplification is present, and this work’s optical and conceptual qualities are roughly equally developed. In total, semi-abstract realism applies.
Cohesion is based on split-complementary and overwhelmingly warm color, a unique pattern of values, statue-like modelling of figures and tiered organization of the same. Buoninsegna has developed an orderly and beautiful pattern of faces and halos supported by the seamless blend of these elements. A series of portraits is arranged in their proper places, bracketing the subject in glowing adoration.
Reasonable development is evident on the overlapping figures, and an upper tier of portraits is scaled in size to develop a relative sense of space. The architecture the Virgin rests on is rendered with projected depth. However, the figures are somewhat flat overall. Buonensegna’s global use of detail supports this. An interesting combination of fiery reds separate themselves in relative depth from the dense formatting of the subject. Buoninsegna has used value in an intuitive way to place the Child in front of the Mother. The dramatic highlighting of her form does as much as her inflated size to center attention on her.
Color strategy analysis related to depth: Favors plastic depth. Fiery red and rich, warm gold are respectably analogous colors and are not strong choices to develop space on their own (unless the intention is decoration). Neutral blues are present, however the use of this color is overwhelmed by its dense treatment to establish Mary’s form. This has the effect of “stretching” the pictorial sense of depth because of the complementary differences between the warm colors set in opposition to the blues. With all of this being said, the impact of Buoninsegna’s employment of colors is negligible.
Split-complement compositions are always a challenge for me. If design is applied (and this work qualifies as design, in my opinion) the artist has four choices: Equivalence in warm and cool colors, equivalence in all colors, domination of either warm or cool colors, or domination of one color over the other two. Clearly gold overpowers to the point where it glows off the canvas. Formally, this a masterpiece based on overwhelming, unbalanced proportions. This is seen in Buoninsegna’s employment of color, value and the formatting of shape. Equivalencies can be found in contrasting shapes and edges.
This masterpiece is a beautiful example of the blending of two major styles of western visual expression: Gothic and Byzantine. Future works would integrate similar figures with more spontaneity and further develop the progression of realism. Generally, unbalanced ratios favor order in the visual arts, so is the case in this work. Design by nature is organized, and this is a work of design.
Cohesion is based on split-complementary and overwhelmingly warm color, a unique pattern of values, statue-like modelling of figures and tiered organization of the same. Buoninsegna has developed an orderly and beautiful pattern of faces and halos supported by the seamless blend of these elements. A series of portraits is arranged in their proper places, bracketing the subject in glowing adoration.
Reasonable development is evident on the overlapping figures, and an upper tier of portraits is scaled in size to develop a relative sense of space. The architecture the Virgin rests on is rendered with projected depth. However, the figures are somewhat flat overall. Buonensegna’s global use of detail supports this. An interesting combination of fiery reds separate themselves in relative depth from the dense formatting of the subject. Buoninsegna has used value in an intuitive way to place the Child in front of the Mother. The dramatic highlighting of her form does as much as her inflated size to center attention on her.
Color strategy analysis related to depth: Favors plastic depth. Fiery red and rich, warm gold are respectably analogous colors and are not strong choices to develop space on their own (unless the intention is decoration). Neutral blues are present, however the use of this color is overwhelmed by its dense treatment to establish Mary’s form. This has the effect of “stretching” the pictorial sense of depth because of the complementary differences between the warm colors set in opposition to the blues. With all of this being said, the impact of Buoninsegna’s employment of colors is negligible.
Split-complement compositions are always a challenge for me. If design is applied (and this work qualifies as design, in my opinion) the artist has four choices: Equivalence in warm and cool colors, equivalence in all colors, domination of either warm or cool colors, or domination of one color over the other two. Clearly gold overpowers to the point where it glows off the canvas. Formally, this a masterpiece based on overwhelming, unbalanced proportions. This is seen in Buoninsegna’s employment of color, value and the formatting of shape. Equivalencies can be found in contrasting shapes and edges.
This masterpiece is a beautiful example of the blending of two major styles of western visual expression: Gothic and Byzantine. Future works would integrate similar figures with more spontaneity and further develop the progression of realism. Generally, unbalanced ratios favor order in the visual arts, so is the case in this work. Design by nature is organized, and this is a work of design.
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