Fantastical realism applies not only
because of the reference to the other-worldly but because of the ornate manner
used to develop the figures and background. Formally, this work shares a lot in
common with a Roccoco master such as Watteau while sharing emotional traits with
drawings by a Baroque artist such as Rembrandt. The construction of this
composition is quite deliberate. The static poses of the midground figures and
stability of the settings around them increase the effectiveness of where
energy and tension are applied.
The location, dramatic contrast and
reference of the titled subject are certainly attention-grabbing. The pose of
the secondary subject infuses this composition with incredible energy because of
the interaction between the two figures and the disharmonious axis angles this interaction
causes against the otherwise horizontal and vertical organization of the mid-
and backgrounds. The architectural organization is reinforced by how the viewer
is nearly reflected in pose and position with the guard on the other side of
the picture plane. Spatial relationships are defined by the relative sharpness
and placement of high key values in this work.
Moreau effortlessly
and organically unifies hue, value, chroma and texture. Values are unrestricted
and carefully blended, generating a subtle, binding and beautiful texturing effect
across the canvas. The most dramatic shifts in contrast are reserved for the foreground
subject interaction. The distribution of sparse color generates the perfect
amount of life in the background while unifying the canvas. This allocation of
the value range and modeling (arguably the same thing) along with an intuitive definition
of details from fore- to background define forms in pictorial depth. Moreau
layers the before-mentioned dynamic energy with calibration in elemental embellishments
and a specific strategy in applying contrast
to crystallize the canvas. The setting is a royal court, bathed in richness as referenced by the golden highlights, furnishings and dress of the figures. A common theme of ancient literature across cultures (incest) is referenced in princess Solome’s sensual dance for her stepfather, king Herod. As payment for the display she demanded the head of John the Baptist. Moreau has rendered the narcissistic, capricious request with a poignance reflective of Solome’s character in order to emphasize it.
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