The work This week is a fresh. The fresco technique consists of painting on freshly plastered walls with a mixture of sand and lime while still wet. The pigments are dissolved in lime as well, so that permeate deep into the wall gaining in strength. The drawback of this technique is that the colors are expanded in a way that is difficult to control, so that you can not specify too much detail.
The drawing is full of strength and simplicity. A thick black line delineates the schematic forms and simplicity of the volume conveys a pure energy, almost childlike, full of candid spirituality.
The colors are flat and fundamental. Deep blue used in contrast to pure red and yellow and the author shows at no time intended to degrade the lights to try, using leftover modulated recreate the feeling of volume.
The resulting light is diffused, omnipresent, that invades every space and void any possibility of shadow.
Both these grounds, and the absence of benchmarks for the same configuration resulting group of characters, the play lacks depth and perspective. Strongly illuminated figures and the absence of lines or landscape features that suggest a fund plunge us into a two-dimensional world is not ashamed of his condition two-dimensional. Moreover, the use of a half-dome apse and crown it as the basis for the development of this work and the working optical resolution of the problems posed by forms of support are an unexpected skill in the artist.
composition of a Byzantine influence is as easy as one would expect in a work of this era and style. The characters, the virgin with the child and the three wise men, superimposed on the wall in the same plane. The size difference between Mary and the Magi do not follow set any perspective, but the intent of highlighting the mother of Jesus without regard to naturalism would reject such disproportion.
The work at hand is, therefore, the characteristics identified, a Roman fresco XI century or the beginning of XII. In particular, we can say that this is the apse of Santa Maria de Tahull, in Catalonia.
HISTORICAL CONTEXT.
The fear of the millennium and the end of the world that it would, forged in the minds of Christians throughout the West a twisted view of life and divinity. In gratitude to God for his merciful forgiveness of late saves us in extremis the end of the world, Christians embark on a headlong rush of pity and sample submission to the divine. This devotion evidenced in the building industry that has fever to invest all their efforts in raising contractionary dark temples, squat and solid, true God Castle. Fully medieval art of eleventh and twelfth centuries reached its peak in the Romanesque. The philosophical figure of St. Augustine casts a long shadow on the art of the early second millennium. His exaltation of the soul and contempt for the material has penetrated deeply into society and the artist takes the time to reject naturalism and embrace a figurative expressionist style and prone to abstraction that borders on the puerile for its ingenuity.
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