An interesting aspect to this works
abstract character is that it’s based not on the defined, elementary shapes and
their interactions characteristic of early 20th century art, but a
blended, unifying use of value and contrasting highlights. The foreground
figure carries an unmistakable thrust of rage that is reflected in the wave-like
block of revolting peasants. Kollwitz masterfully unifies a sense of balance
threatening to destabilize the canvas with unexpected compositional choices in
perspective and figurative orientation.
The heavy and strongly subjective use of value does well to impress the gritty, severe living conditions of the average person in the mob. Value both flattens and provides pictorial depth in this work. The depth is based on an interesting combination of value contrasts between the shadow-like foreground figure and the person foremost in the crowd. The entire composition has a strongly unified, subtractive character which allows the spirit-like highlights and directional thrusts of the mob to build a system of interest that is unique to this work.
The combination of the energy of the foreground figure, mob, and pictorial weight create an appropriately unbalanced composition. The perspective of the observer is slightly lowered and tipped. Energy and size alone cause the raging figure to dominate the canvas; everything else is an orchestration of her leadership. Kollwitz uses a shift from muted to strongly contrasting formatting to bring the mob to life. Rapid, gestural and figurative line more than shape builds this composition after value. The subordination of shape largely unifies the canvas with interest generated by the relatively sharp focus of the foreground figure.
Kollwitz was an Expressionist who felt a great deal of sympathy for the working poor. This theme is clearly communicated in this etching, one of seven compositions she titled the Peasant’s War series documenting atrocities committed against the peasantry of 17th century Germany. In this one masterpiece, she has simultaneously communicated the inhumane conditions of this population and their rage. An additional layer of tragedy is applied to the series in light of events in Europe that were soon to follow.
The heavy and strongly subjective use of value does well to impress the gritty, severe living conditions of the average person in the mob. Value both flattens and provides pictorial depth in this work. The depth is based on an interesting combination of value contrasts between the shadow-like foreground figure and the person foremost in the crowd. The entire composition has a strongly unified, subtractive character which allows the spirit-like highlights and directional thrusts of the mob to build a system of interest that is unique to this work.
The combination of the energy of the foreground figure, mob, and pictorial weight create an appropriately unbalanced composition. The perspective of the observer is slightly lowered and tipped. Energy and size alone cause the raging figure to dominate the canvas; everything else is an orchestration of her leadership. Kollwitz uses a shift from muted to strongly contrasting formatting to bring the mob to life. Rapid, gestural and figurative line more than shape builds this composition after value. The subordination of shape largely unifies the canvas with interest generated by the relatively sharp focus of the foreground figure.
Kollwitz was an Expressionist who felt a great deal of sympathy for the working poor. This theme is clearly communicated in this etching, one of seven compositions she titled the Peasant’s War series documenting atrocities committed against the peasantry of 17th century Germany. In this one masterpiece, she has simultaneously communicated the inhumane conditions of this population and their rage. An additional layer of tragedy is applied to the series in light of events in Europe that were soon to follow.
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