The tenebristic development, dramatic
presentation and rich use of architectural elements used to present the subject
matter create a unified, nearly hyper-realistic series of works. I believe the
numerous other-worldly references qualifies it so. Globally, these works are
quite stable and arranged on a nearly-rigid grid system. This is contrasted
with the lush energy of most of the individual scenes. This combination must be
quite overwhelming to even casual observers.
Taken in overall, Michelangelo has
developed a wonderfully balanced and patterned arrangement of light/dark values
guided by narrative and negative space. Beautiful patterns-within-patterns are
integrated into this value strategy with his distribution of figurative forms
(naked and clothed), similarly sized shapes and shape clusters, and
perpendicular, implied lines of force.
Colors are full, varied and almost playful in their energy. Figures are
rendered with a monumental, somewhat statue-like quality. Forms are quite
idealized, elongated and simultaneously carry a sense of mass and motion.
Wind-swept movement is implied in the flowing treatment of clothing edges, hair
and implied lines of force. Great care was taken to develop the life-like
textures of this series.
Modelling
favors value variation over purity. Michelangelo expertly calibrates textural
and edge details to further develop a subject’s relative placement in three-dimensional
space. One of the measures he uses to imply depth, which does more to create an
organizational framework for the entire series, is to compress the perspective
applied to the architectural elements that separate the major sections of the
fresco groupings. They place the viewer at specific front-on/oblique intervals
along the longest axis of the chapel’s nave.
The energy and weight of the individual scenes and “filler elements” are symmetrically balanced along both axis. Michelangelo is successful at presenting his narratives in a manner that is organized and easy for the observer to absorb. Globally, they carry roughly equal formal weight, emphasizing equal importance. Each are given their own “bubble” of space through directional and actual lines.
Manipulation of the observer is masterful and complicated. This series of works, characterized by extreme and homogeneous formal sensitivity, relies on storytelling, subtle directions of force and value-developed subjective beauty to captivate its audience. Some formal sources of interest are the full and varied use of values and equivalence in occupied and unoccupied space. By placing these magnificent scenes high above the observer at a nearly impossible angle to view comfortably, Michelangelo has effectively separated, or at least subordinated, their role in this series. He has placed the word or allegory of God where it belongs, and his subjects accordingly in relation to this.
Clearly building an essay on a work such as this would be ridiculous even for someone with developed instincts, the respect of her or his peers and formal recognition. Such a person would understand that a short novel would be required to cover what I’m attempting here, which is simply the overall formal aspects of the Sistine chapel’s ceiling. With what I’ve learned so far about the limitless aspects of formal artistic analysis, I am willing to make a risky statement by saying that after the collapse of the Roman Empire, visual art progressively gained complexity. That might sound obvious, and all artwork is challenging, but at and after the fourteenth century dissecting western visual expression gets pretty overwhelming.
The energy and weight of the individual scenes and “filler elements” are symmetrically balanced along both axis. Michelangelo is successful at presenting his narratives in a manner that is organized and easy for the observer to absorb. Globally, they carry roughly equal formal weight, emphasizing equal importance. Each are given their own “bubble” of space through directional and actual lines.
Manipulation of the observer is masterful and complicated. This series of works, characterized by extreme and homogeneous formal sensitivity, relies on storytelling, subtle directions of force and value-developed subjective beauty to captivate its audience. Some formal sources of interest are the full and varied use of values and equivalence in occupied and unoccupied space. By placing these magnificent scenes high above the observer at a nearly impossible angle to view comfortably, Michelangelo has effectively separated, or at least subordinated, their role in this series. He has placed the word or allegory of God where it belongs, and his subjects accordingly in relation to this.
Clearly building an essay on a work such as this would be ridiculous even for someone with developed instincts, the respect of her or his peers and formal recognition. Such a person would understand that a short novel would be required to cover what I’m attempting here, which is simply the overall formal aspects of the Sistine chapel’s ceiling. With what I’ve learned so far about the limitless aspects of formal artistic analysis, I am willing to make a risky statement by saying that after the collapse of the Roman Empire, visual art progressively gained complexity. That might sound obvious, and all artwork is challenging, but at and after the fourteenth century dissecting western visual expression gets pretty overwhelming.
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