![]() ![]() That forms the edge of the squared turret. The corners of forms, I'm looking at the line We have line on its own, for example, in the branches of the tree. The Virgin Mary's drapery from the grass that she sits on. There are contour lines used to demarcate and separate forms. Those forms are established just by touches of colorįrom the artist's brush. And some of the form is far more delicate, look at the handling, for example, of the leaves on the trees. Some of them feel very solid, like the figures in the foreground. Rounded and curvilinear, like the Virgin Mary and We also have figurative forms, the Madonna and Child in the foreground, but we also have built forms, we have the architecture Natural forms, we have trees, and grass, and fields,Īnd mountains, and clouds. Representation of solids in space, and it's instructive to think about the variety of types of form that the artist is representing. When we speak about form, we're thinking about the But which neverthelessĬreates a sense of logic, and places us, the viewer, inĪ particular point in space, in relationship to the They meet at a vanishing point, which in the context of this painting, is obscured by the Virgin MaryĪnd Child in the foreground. Lines that appear to recede into the distance, that lead Little bit of linear perspective if we look at the plowed field. ![]() ![]() Details become less vivid,Ĭolor becomes paler, things become bluer. Looking at a great distance, looking through more atmosphere. That's meant to replicate the natural phenomena of Look at the mountains in the distance, how they've become paler and bluer. And as the sky moves back in space, towards the horizon, it becomes paler. The top of the painting, the sky that is closest to The pictorial space is defined by what we would call atmospheric and linear perspective. So we have, immediately,īecause of overlapping. Let's start with the figure, she's seated on the ground Of three-dimensional form and an illusion of space And that what the artist is doing is creating an illusion We should acknowledge that we're looking at a flat surface. So we have this echoing of forms, that helps to unify the composition. Line that forms the slope of her right shoulderĬorresponds to the diagonal line of her forearm, and the diagonal That has the same kind of volume as her own head and that of the child. Her fingertips together, defining an internal space, Volume in between the hands of the Virgin Mary, who holds Tilt to the Virgin Mary's head, which corresponds to the angle Way in which the artist has composed the bodies of the figures. Another way weĬan talk about composition, is to think about the On one side by trees, and on the other sideīy the vertical forms of the architecture. You see a band in theįoreground of greenery, then there's a band of pebbles, then there's a band of tilled farmland, and even the clouds create Pyramidal foreground, in front of a series of whatĪre really horizontal bands, that move back into space. Significant amount of landscape that surrounds her, that, Towers over the horizon line, and is clearly the primary subject. Has placed her very close to the foreground, so that she So there is an intimacy that is created between the female figure and the child. We also notice that theĬhild in her lap is contained within the pyramidal shape of her body. Wearing, the drapery spreads out across the bottom length of the painting. Not only does she fillĪ third of the frame, but the clothing that she's We see a female figure who's smaller than life size. To a very small painting, we tend to come in very close, Of a very large painting, you tend to stand back, This is a moderately sized painting, and that changes where we stand in relationship to the painting. Well, we're inĪ gallery with paintings of all different sizes, thereĪre very large altar pieces, and there are some very The scale of the painting, and the scale of the figures, and what we see in the painting. So we're gonna talkĪbout scale, composition, pictorial space, form, line, color, light, tone, texture, and pattern. Talk about the political, social, or economic context in We're not gonna talk about the commission or who the patron was. Symbolism that we might see in some of the animals in the background. With the history of paintings of the Madonna and Child. We're not gonna talk about iconography, how this painting fits in But we wanted to talk about it, as a vehicle to highlight National Gallery in London, standing in front of Giovanni Bellini's the Madonna of the Meadow. ![]()
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