The figures move back from theįront plane, starting with the man on the right, who directs our attention towards the woman on the left, and towards Christ, a little further back. The picture plane and receding into depth. Painting in which the composition is dominated by figures placed at an angle to Raphael’s planar composition is different from the recessional construction of Guercino’s The saint on the left is in line with the front edge of the next step back, while beyond is the plane of the rear of the throne. The next plane coincides with the front of the platform of the Madonna's throne, in line with the saint on the right. In the Raphael, for example, the first plane is given by the small step in front.
Absolute unity art series#
Planar means that the elements of the painting are arranged on a series of planes parallel to the picture plane. In shadow, swift brush-strokes bind separate parts together rather than Illuminated but are fused together, seen in a strong light which comes from oneĭirection and reveals some things while it obscures others. In contrast, in a painterly painting, the figures are not evenly Theīoundaries of each solid element (whether human or inanimate) are definite andĬlear each figure is evenly illuminated, and stands out boldly like a piece of Significant forms within and surrounding the figures are clearly outlined. The division into categories is only for the purposes of analysis.īy linear Wölfflin means that all the figures and all the Though, that the pairs of categories he proposes are comparative, not absolute. May otherwise remain very general and imprecise. Which we can articulate some of our observations regarding Baroque art - which Relatively objective and impartial categories, constituting a system within The great value of Wölfflin's work is that he provides us with
Him characterize the differences between the styles of the two periods. Through a careful study of Renaissance (late 15th- andĮarly 16th-century) and Baroque (17th-century) works of art, Wölfflinĭistilled a number of principles, which he arranged in five pairs, which helped His book Principles or Art History The Problem of the Development of Style One of the most successful attempts was made by Heinrich Wölfflin in
Technique, but in terms of purely formal concepts.
One way of trying to understand and appreciate works of art is by means ofįormal analysis, that is by looking at them not in terms of subject matter or ARTH 344 FALL 2013 SCHEDULE REQUIREMENTS ART HISTORY GUIDE
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