OUR UNIVERSAL SACRED SPACE
Sitting high on top a majestic mountain, is a beautiful scenic garden surrounding a luminous glass geodesic dome. Surrounded by blue skies, fresh air, and abound by nature in all directions, is this site of religious significance. It is designed for all religions who desire to meditate as one or congregate as a whole.
The large voluminous geodesic dome is three hundred feet in diameter and self supporting due to the steel truss system. The surface is composed of many strong glass triangles that visually create a pattern of dimensional polyhedrons. Clear glass allows brilliant sunlight, as well as bright starry moonlit nights to radiate light over the entire interior.
A white textured limestone wall circulates 360 degrees around the base of the dome providing exterior and interior structural support. At the north, south, east, and west sides of the limestone walls are four very large wooden arched doorways with stained glass in the centers. Wood solid buttressing is buried into the limestone for support above the doorways. A rainbow of colorful glass is used to create different asymmetrical scenes of nature on each set of doors. Each beautiful scene is an assortment of trees, flowers, water, stars, moon, sun, and mountains. Blue and green dominate the colors on the glass with shades of red and yellow highlights.
Once you open a door, you enter into a spacious open air foyer that you can either walk straight towards the sanctuary, or you can turn to the right or left and continue the foyer area that circles the perimeter of the interior dome. Above each of the doorways, are long wooden cornices imbedded into the limestone, each holding a variety of religious small friezes. Within the limestone walls of the foyer are many areas of built in various sized ledges (niches) that display hundreds of donated sacred objects. Religions of all types have provided a variety of individual significant relics, icons, prints, or deities. Some mediums are of natural elements such as grass or fabrics, and others are wood or stone carvings. There are even some beautiful glass and tiled mosaics. All of the religious artifacts share a great importance and are displayed with respect.
Periodically placed on the limestone walls are twelve large wooden frames containing historical written content in reference to the mapping of the solar and planetary system. The twelve frames are divided by the months of the year and refer to the specific definitions of the sun, moon, and stars that are so prevalent in many of the ancient religions. The aesthetics of the foyer area projects as a gallery due to all the universal religious contributions.
Once you enter into the enormous circular open air sanctuary, you begin to descend steps towards the center that is emphasized with a towering 120 foot cylindrical water fall. The sanctuary is literally carved out of the top of the mountain. Rows and rows of long curved benches covered with sheets of smooth polished natural granite descend in a theatrical style of seating. On both ends of each row are attached curved granite planters holding an array of colorful flowers and greenery. Back up at the top of the stairs of the sanctuary, on each side of the north, south, east, and west entrances, are large circular rock planters. Each planter is 20 feet in diameter, hold tall cypress and cedar trees, and present seasonal flowers at the edges. The colorful flowers contrast nicely against the rough textured white limestone background, smooth granite, and shaggy bark of the cypress and cedar trees.
As the stairs cascade down to the center, you can’t help but notice the flooring you stand upon. There is light colored marble creating a pattern of overlapping ringed circles that are pressed and cut into a rich warm wood floor. The design is complex and unique.
At the center of the lower floor is a raised circular white marbled platform for the waterfall and the oak trees that surround it. The platform is forty feet in diameter and only three feet high. Since the sanctuary is carved out of the mountain, an underground spring is utilized for the fountain. A solar powered pump pushes water up through the center of the tall cone shaped cylinder made of white sparkling marble. Due to the slight coned shape, water is able to trickle over the top edges and gracefully roll down the shaft in a small pool. The pool is designed similar to an impluvium except the water source is from a natural spring from below and it is recycled. In the sunlight, the water silently sparkles against the white polished marble. At night, artificial under water lights aimed up towards the heavens surround the waterfall. Surrounding the pool of water are six tall oak trees that are carpeted in textured greenery and seasonal flowers at the bases.
From sunrise to sunset, there are dramatic shades of light and shadows that create an ever changing appearance on the interior. The white limestone, white marble and masses of colorful soft flowers are intensely contrasted against the natural colored granite, rocks, bark, and wood floors. It is visually stimulating to see an area of worship with such natural beauty. Peacefully sitting in a large natural environment with just the sound of a trickle of water, should enable one to connect with their spiritual thoughts.
Parking is kept at a far distance so as not to interfere with nature. Therefore, the dome is surrounded by acres of lush, peaceful gardens. Walkways made from stone curve and wind in a musical rhythm around the entire complex creating a multitude of private meditation areas. Trees, hedges, and flowers are heavily scattered over the gardens. Many sections have natural rock with water flowing down into koi ponds that are filled with various fish life. Some areas have decorative formal marble water fountains with low relief statues on the top. Wood benches, marble benches, and large ornamental rocks are placed in sections to provide outdoor seating. Various wood and marble free standing sculptures and shrines scatter the landscape. Each piece of artwork has its own unique dimensions, colorations, texture and shape that represent those who provided its content. There is even a Zen garden complete with light colored sand that is deeply contrasted against the dark rocks that are placed within the perimeter. It is truly a universal garden for everyone to quietly spend time in thought.
The dome, seating, walls, floors, planters, waterfall, foyer, and curved walkways are full of curved lines. Extreme depth defines this interior. Colors of nature are overwhelmingly evident inside and out. Time travels as the value of light and shadows appear and disappear through the property. There is very little negative space within the dome. What negative space there is in the lush gardens is meant to be, for silence. The trees on the interior may only offer a difference in height or width; otherwise the interior is completely symmetrical and balanced. The garden offers many organic shapes and is consistently asymmetrical through out. Energy from the water, light and plants are provided on the inside. Outside you have water, and an abundance of life. There is repetition of geometrical designs in the sanctuary. Unity exists when you take all of the dome architecture and focalize all of its creation towards the center, and then upwards. This type of construction has no problems in merging with nature.
A glass geodesic dome is a wonderful piece of architecture that allows all religions who associate the value of the sun, moon, and stars to participate in each daily creation. The polyhedrons reflect nature as well as the soil that surrounds all plant life. All of the trees, plants and water give life. The dome and towering waterfall reach up to touch the heavens, while the water returns in motion back to earth providing life. The koi ponds give a symbol of strength and longevity. The trees of life are a link between heaven and earth. The trees unify the sky above with the earth below. The many varieties of plants and flowers seen through out the grounds have different meanings for all visitors. Flowers have always been a significant part of all cultures around the world. Plants and flowers accompany us in every major event in life; birth, marriage, holidays, celebrations, illnesses, and in death. Our sacred place is full of symbolism inside and out. We have incorporated elements of nature along with many sacred objects that have cultural and religious meanings.
In our universal sacred place, the heavens are there for our own personal form of worship, as well as enjoyment. As you look around the beautiful grounds, you will see sacred objects from many different cultures and religions. There are hundreds of pieces of artwork representing the lifework of many beliefs. The location, gardens, and sanctuary offer a type of blessing and peacefulness. Faith in Christianity, Hinduism, Buddhism, Judaism, and the many others, are all welcomed. Our universal sacred place holds meaning and faith for many people in so many different ways.
Michelle Taylor
Margie Clark
Mitsi Pimentel
Kim Acosta
Thursday, December 11, 2008
Thursday, December 4, 2008
by Michelle Taylor
CYLINDRICAL VESSEL WITH SACRIFICIAL SCENE
BY
MICHELLE TAYLOR
Introduction
I attended the Dallas Museum of Art on December 2, 2008 and the work of art I choose to discuss for my visual/formal analysis is the Cylindrical vessel with sacrificial scene. The vessel is from Guatemala or Mexico, in the Maya Late Classic period in c. A.D. 600-850. This vessel portrays a human sacrifice in detail. In this paper I will focus on the art elements and art principles.
Line
This particular art piece, I definitely see outlines, which show objects, shapes and forms. The lines that outline the subjects are dark black and very bold and thick. The victim’s lines are showed vertically on the vessel and he is frontally facing the viewer. The men around the victim all show lines of being horizontal with some motion noted by the dancing.
Shape
There are many shapes used in this artwork. The artwork itself is a regular shape, cylinder, which is three-dimensional. The painting on the vessel is in a multi-point perspective where it employs multiple depths to the image creating the true three-dimensional scene. The vessel has a large opening on the top and hollow in the inside so the mass is slightly less than the volume. In addition, many different shapes are used to create the animals and humans painted on the vessel. The victim of coarse is showed as a weak figure and somewhat grotesque with blood. The men around the victim are seen a proud and strong figures. The animals, the macaw and jaguar, also seem to represent themselves as strong figures because the men are holding them. All the humans are proportional in size to one another. The animals seem to be slightly smaller than the humans. I believe the figures are located in the foreground of the vessel. It is in my opinion that the artist placed the figures in front because this is an important ritual in which tells a story without words.
Space
The vessel is 8 ¼ inches in height and cylinder in shape. The size of the vessel does dwarf compare to us. The painting around the cylinder appears to be flat. The vanishing point in the scene is the victim lying on the altar, which show one-point perspective.
Light
In the ritual scene there is slight shading and changes in color, which imply light. Because the background of this scene is completely black the colors from the animals, men and clothing bring out the light in the painting. The value creates the illusion of depth and illusion in this scene.
Color
When I first glance at this vessel I see the red and black colors. But
the more I look at it the more I see orange, brown, white, gray and browns. I believe that hue of the vessel is the color red. I think the color red shows defeat and makes the viewer somewhat scared or frighten. I do not see any complimentary colors used in the artwork but I do see some analogous colors used. I see high the intensity colors of red and orange and the main value color as black. The entire background of the vessel is black and seems to be very dark. Some of the ritual scene such as the dancing seems to have brighter and warmer colors. For myself, it is difficult to understand if this ritual is suppose to represent a gory or joyous scene based on colors.
Texture
I believe the texture of the ceramic vessel itself is smooth and curved to the touch. The painted used also seems to be smooth.
Balance
The balance of this piece is asymmetrical. The larger figures do draw more of your attention towards them. Also the bright colors such as the reds and oranges visually weightier.
Emphasis
The emphasis of this work is the nude body of a sacrificial man lying on the altar. My eyes are drawn to this body with blood dropping down. Also this poor victim seems to be looking straight at me in agony. I think the other characters in the artwork are appealing to the eye but for some reason I still cannot take my sees off the victim. Therefore, the victim is the only focal point in this scene.
Rhythm
Some of the repeated elements I see are in the colors and shapes painted on the clothing of the men. In the scene itself it flows in an eccentric rhythm, which is irregular. When looking at the scene as a whole it does have a unified rhythm that flows well.
Container with painting
This container serves as a piece of artwork, vessel for storing liquids and tells a story. The polychrome paint used on this vessel is flat in color. Ceramics are a fragile medium to work with until they have been fired. I believe that the artist could create any picture or scene without many limitations. The vessel probably looks the same today as when the artist painted it because firing the ceramic sets the paint and it cannot wear or fade off.
BY
MICHELLE TAYLOR
Introduction
I attended the Dallas Museum of Art on December 2, 2008 and the work of art I choose to discuss for my visual/formal analysis is the Cylindrical vessel with sacrificial scene. The vessel is from Guatemala or Mexico, in the Maya Late Classic period in c. A.D. 600-850. This vessel portrays a human sacrifice in detail. In this paper I will focus on the art elements and art principles.
Line
This particular art piece, I definitely see outlines, which show objects, shapes and forms. The lines that outline the subjects are dark black and very bold and thick. The victim’s lines are showed vertically on the vessel and he is frontally facing the viewer. The men around the victim all show lines of being horizontal with some motion noted by the dancing.
Shape
There are many shapes used in this artwork. The artwork itself is a regular shape, cylinder, which is three-dimensional. The painting on the vessel is in a multi-point perspective where it employs multiple depths to the image creating the true three-dimensional scene. The vessel has a large opening on the top and hollow in the inside so the mass is slightly less than the volume. In addition, many different shapes are used to create the animals and humans painted on the vessel. The victim of coarse is showed as a weak figure and somewhat grotesque with blood. The men around the victim are seen a proud and strong figures. The animals, the macaw and jaguar, also seem to represent themselves as strong figures because the men are holding them. All the humans are proportional in size to one another. The animals seem to be slightly smaller than the humans. I believe the figures are located in the foreground of the vessel. It is in my opinion that the artist placed the figures in front because this is an important ritual in which tells a story without words.
Space
The vessel is 8 ¼ inches in height and cylinder in shape. The size of the vessel does dwarf compare to us. The painting around the cylinder appears to be flat. The vanishing point in the scene is the victim lying on the altar, which show one-point perspective.
Light
In the ritual scene there is slight shading and changes in color, which imply light. Because the background of this scene is completely black the colors from the animals, men and clothing bring out the light in the painting. The value creates the illusion of depth and illusion in this scene.
Color
When I first glance at this vessel I see the red and black colors. But
the more I look at it the more I see orange, brown, white, gray and browns. I believe that hue of the vessel is the color red. I think the color red shows defeat and makes the viewer somewhat scared or frighten. I do not see any complimentary colors used in the artwork but I do see some analogous colors used. I see high the intensity colors of red and orange and the main value color as black. The entire background of the vessel is black and seems to be very dark. Some of the ritual scene such as the dancing seems to have brighter and warmer colors. For myself, it is difficult to understand if this ritual is suppose to represent a gory or joyous scene based on colors.
Texture
I believe the texture of the ceramic vessel itself is smooth and curved to the touch. The painted used also seems to be smooth.
Balance
The balance of this piece is asymmetrical. The larger figures do draw more of your attention towards them. Also the bright colors such as the reds and oranges visually weightier.
Emphasis
The emphasis of this work is the nude body of a sacrificial man lying on the altar. My eyes are drawn to this body with blood dropping down. Also this poor victim seems to be looking straight at me in agony. I think the other characters in the artwork are appealing to the eye but for some reason I still cannot take my sees off the victim. Therefore, the victim is the only focal point in this scene.
Rhythm
Some of the repeated elements I see are in the colors and shapes painted on the clothing of the men. In the scene itself it flows in an eccentric rhythm, which is irregular. When looking at the scene as a whole it does have a unified rhythm that flows well.
Container with painting
This container serves as a piece of artwork, vessel for storing liquids and tells a story. The polychrome paint used on this vessel is flat in color. Ceramics are a fragile medium to work with until they have been fired. I believe that the artist could create any picture or scene without many limitations. The vessel probably looks the same today as when the artist painted it because firing the ceramic sets the paint and it cannot wear or fade off.
by Michelle Taylor
CYLINDRICAL VESSEL WITH SACRIFICIAL SCENE
BY
MICHELLE TAYLOR
Introduction
I attended the Dallas Museum of Art on December 2, 2008 and the work of art I choose to discuss for my visual/formal analysis is the Cylindrical vessel with sacrificial scene. The vessel is from Guatemala or Mexico, in the Maya Late Classic period in c. A.D. 600-850. This vessel portrays a human sacrifice in detail. In this paper I will focus on the art elements and art principles.
Line
This particular art piece, I definitely see outlines, which show objects, shapes and forms. The lines that outline the subjects are dark black and very bold and thick. The victim’s lines are showed vertically on the vessel and he is frontally facing the viewer. The men around the victim all show lines of being horizontal with some motion noted by the dancing.
Shape
There are many shapes used in this artwork. The artwork itself is a regular shape, cylinder, which is three-dimensional. The painting on the vessel is in a multi-point perspective where it employs multiple depths to the image creating the true three-dimensional scene. The vessel has a large opening on the top and hollow in the inside so the mass is slightly less than the volume. In addition, many different shapes are used to create the animals and humans painted on the vessel. The victim of coarse is showed as a weak figure and somewhat grotesque with blood. The men around the victim are seen a proud and strong figures. The animals, the macaw and jaguar, also seem to represent themselves as strong figures because the men are holding them. All the humans are proportional in size to one another. The animals seem to be slightly smaller than the humans. I believe the figures are located in the foreground of the vessel. It is in my opinion that the artist placed the figures in front because this is an important ritual in which tells a story without words.
Space
The vessel is 8 ¼ inches in height and cylinder in shape. The size of the vessel does dwarf compare to us. The painting around the cylinder appears to be flat. The vanishing point in the scene is the victim lying on the altar, which show one-point perspective.
Light
In the ritual scene there is slight shading and changes in color, which imply light. Because the background of this scene is completely black the colors from the animals, men and clothing bring out the light in the painting. The value creates the illusion of depth and illusion in this scene.
Color
When I first glance at this vessel I see the red and black colors. But
the more I look at it the more I see orange, brown, white, gray and browns. I believe that hue of the vessel is the color red. I think the color red shows defeat and makes the viewer somewhat scared or frighten. I do not see any complimentary colors used in the artwork but I do see some analogous colors used. I see high the intensity colors of red and orange and the main value color as black. The entire background of the vessel is black and seems to be very dark. Some of the ritual scene such as the dancing seems to have brighter and warmer colors. For myself, it is difficult to understand if this ritual is suppose to represent a gory or joyous scene based on colors.
Texture
I believe the texture of the ceramic vessel itself is smooth and curved to the touch. The painted used also seems to be smooth.
Balance
The balance of this piece is asymmetrical. The larger figures do draw more of your attention towards them. Also the bright colors such as the reds and oranges visually weightier.
Emphasis
The emphasis of this work is the nude body of a sacrificial man lying on the altar. My eyes are drawn to this body with blood dropping down. Also this poor victim seems to be looking straight at me in agony. I think the other characters in the artwork are appealing to the eye but for some reason I still cannot take my sees off the victim. Therefore, the victim is the only focal point in this scene.
Rhythm
Some of the repeated elements I see are in the colors and shapes painted on the clothing of the men. In the scene itself it flows in an eccentric rhythm, which is irregular. When looking at the scene as a whole it does have a unified rhythm that flows well.
Container with painting
This container serves as a piece of artwork, vessel for storing liquids and tells a story. The polychrome paint used on this vessel is flat in color. Ceramics are a fragile medium to work with until they have been fired. I believe that the artist could create any picture or scene without many limitations. The vessel probably looks the same today as when the artist painted it because firing the ceramic sets the paint and it cannot wear or fade off.
BY
MICHELLE TAYLOR
Introduction
I attended the Dallas Museum of Art on December 2, 2008 and the work of art I choose to discuss for my visual/formal analysis is the Cylindrical vessel with sacrificial scene. The vessel is from Guatemala or Mexico, in the Maya Late Classic period in c. A.D. 600-850. This vessel portrays a human sacrifice in detail. In this paper I will focus on the art elements and art principles.
Line
This particular art piece, I definitely see outlines, which show objects, shapes and forms. The lines that outline the subjects are dark black and very bold and thick. The victim’s lines are showed vertically on the vessel and he is frontally facing the viewer. The men around the victim all show lines of being horizontal with some motion noted by the dancing.
Shape
There are many shapes used in this artwork. The artwork itself is a regular shape, cylinder, which is three-dimensional. The painting on the vessel is in a multi-point perspective where it employs multiple depths to the image creating the true three-dimensional scene. The vessel has a large opening on the top and hollow in the inside so the mass is slightly less than the volume. In addition, many different shapes are used to create the animals and humans painted on the vessel. The victim of coarse is showed as a weak figure and somewhat grotesque with blood. The men around the victim are seen a proud and strong figures. The animals, the macaw and jaguar, also seem to represent themselves as strong figures because the men are holding them. All the humans are proportional in size to one another. The animals seem to be slightly smaller than the humans. I believe the figures are located in the foreground of the vessel. It is in my opinion that the artist placed the figures in front because this is an important ritual in which tells a story without words.
Space
The vessel is 8 ¼ inches in height and cylinder in shape. The size of the vessel does dwarf compare to us. The painting around the cylinder appears to be flat. The vanishing point in the scene is the victim lying on the altar, which show one-point perspective.
Light
In the ritual scene there is slight shading and changes in color, which imply light. Because the background of this scene is completely black the colors from the animals, men and clothing bring out the light in the painting. The value creates the illusion of depth and illusion in this scene.
Color
When I first glance at this vessel I see the red and black colors. But
the more I look at it the more I see orange, brown, white, gray and browns. I believe that hue of the vessel is the color red. I think the color red shows defeat and makes the viewer somewhat scared or frighten. I do not see any complimentary colors used in the artwork but I do see some analogous colors used. I see high the intensity colors of red and orange and the main value color as black. The entire background of the vessel is black and seems to be very dark. Some of the ritual scene such as the dancing seems to have brighter and warmer colors. For myself, it is difficult to understand if this ritual is suppose to represent a gory or joyous scene based on colors.
Texture
I believe the texture of the ceramic vessel itself is smooth and curved to the touch. The painted used also seems to be smooth.
Balance
The balance of this piece is asymmetrical. The larger figures do draw more of your attention towards them. Also the bright colors such as the reds and oranges visually weightier.
Emphasis
The emphasis of this work is the nude body of a sacrificial man lying on the altar. My eyes are drawn to this body with blood dropping down. Also this poor victim seems to be looking straight at me in agony. I think the other characters in the artwork are appealing to the eye but for some reason I still cannot take my sees off the victim. Therefore, the victim is the only focal point in this scene.
Rhythm
Some of the repeated elements I see are in the colors and shapes painted on the clothing of the men. In the scene itself it flows in an eccentric rhythm, which is irregular. When looking at the scene as a whole it does have a unified rhythm that flows well.
Container with painting
This container serves as a piece of artwork, vessel for storing liquids and tells a story. The polychrome paint used on this vessel is flat in color. Ceramics are a fragile medium to work with until they have been fired. I believe that the artist could create any picture or scene without many limitations. The vessel probably looks the same today as when the artist painted it because firing the ceramic sets the paint and it cannot wear or fade off.
Cylindrical Vessel with Sacrificial Scene by Michelle Taylor
CYLINDRICAL VESSEL WITH SACRIFICIAL SCENE
BY
MICHELLE TAYLOR
BY
MICHELLE TAYLOR
Introduction
I attended the Dallas Museum of Art on December 2, 2008 and the work of art I choose to discuss for my visual/formal analysis is the Cylindrical vessel with sacrificial scene. The vessel is from Guatemala or Mexico, in the Maya Late Classic period in c. A.D. 600-850. This vessel portrays a human sacrifice in detail. In this paper I will focus on the art elements and art principles.
Line
This particular art piece, I definitely see outlines, which show objects, shapes and forms. The lines that outline the subjects are dark black and very bold and thick. The victim’s lines are showed vertically on the vessel and he is frontally facing the viewer. The men around the victim all show lines of being horizontal with some motion noted by the dancing.
Shape
There are many shapes used in this artwork. The artwork itself is a regular shape, cylinder, which is three-dimensional. The painting on the vessel is in a multi-point perspective where it employs multiple depths to the image creating the true three-dimensional scene. The vessel has a large opening on the top and hollow in the inside so the mass is slightly less than the volume. In addition, many different shapes are used to create the animals and humans painted on the vessel. The victim of coarse is showed as a weak figure and somewhat grotesque with blood. The men around the victim are seen a proud and strong figures. The animals, the macaw and jaguar, also seem to represent themselves as strong figures because the men are holding them. All the humans are proportional in size to one another. The animals seem to be slightly smaller than the humans. I believe the figures are located in the foreground of the vessel. It is in my opinion that the artist placed the figures in front because this is an important ritual in which tells a story without words.
Space
The vessel is 8 ¼ inches in height and cylinder in shape. The size of the vessel does dwarf compare to us. The painting around the cylinder appears to be flat. The vanishing point in the scene is the victim lying on the altar, which show one-point perspective.
Light
In the ritual scene there is slight shading and changes in color, which imply light. Because the background of this scene is completely black the colors from the animals, men and clothing bring out the light in the painting. The value creates the illusion of depth and illusion in this scene.
Color
When I first glance at this vessel I see the red and black colors. But
the more I look at it the more I see orange, brown, white, gray and browns. I believe that hue of the vessel is the color red. I think the color red shows defeat and makes the viewer somewhat scared or frighten. I do not see any complimentary colors used in the artwork but I do see some analogous colors used. I see high the intensity colors of red and orange and the main value color as black. The entire background of the vessel is black and seems to be very dark. Some of the ritual scene such as the dancing seems to have brighter and warmer colors. For myself, it is difficult to understand if this ritual is suppose to represent a gory or joyous scene based on colors.
Texture
I believe the texture of the ceramic vessel itself is smooth and curved to the touch. The painted used also seems to be smooth.
Balance
The balance of this piece is asymmetrical. The larger figures do draw more of your attention towards them. Also the bright colors such as the reds and oranges visually weightier.
Emphasis
The emphasis of this work is the nude body of a sacrificial man lying on the altar. My eyes are drawn to this body with blood dropping down. Also this poor victim seems to be looking straight at me in agony. I think the other characters in the artwork are appealing to the eye but for some reason I still cannot take my sees off the victim. Therefore, the victim is the only focal point in this scene.
Rhythm
Some of the repeated elements I see are in the colors and shapes painted on the clothing of the men. In the scene itself it flows in an eccentric rhythm, which is irregular. When looking at the scene as a whole it does have a unified rhythm that flows well.
Container with painting
This container serves as a piece of artwork, vessel for storing liquids and tells a story. The polychrome paint used on this vessel is flat in color. Ceramics are a fragile medium to work with until they have been fired. I believe that the artist could create any picture or scene without many limitations. The vessel probably looks the same today as when the artist painted it because firing the ceramic sets the paint and it cannot wear or fade off.
Bacchic Concert by Kim Acosta
Bacchic Concert 1625-1630
By Pietro Paolini 1603-1681
Visual/Formal Analysis of Bacchic Concert
Introduction:
I was attracted to the illumination of this very large 46”x69” oil on canvas named “Bacchic Concert.” It was painted by Pietro Paolini during the 17th century Baroque period. This artwork is part of the Karl & Esther Hoblitzelle collection at the Dallas Museum of Art.
I couldn’t help but notice the half-dressed male figure that was dressed like Dionysus, the greek mythological god of wine and merriment. Was he someone pretending to be Dionysus? The beautiful female sitting in the middle with the instrument, why is she looking at the painter? And, why is there a female to the left with her back to the artist? I did not recognize the name of the artist but realized his work was similar to some of the ones we had studied. I was amused by the painting and chose it as my project. Later, I discovered Paolini had mannered Caravaggio.
Art Elements
Line:
Just about every form, object, and shadow has curved lines. From the large instruments, the spine of the deity, shoulders of the females, fabrics, faces, and shadows in background, all represented strong curves. Notice the psychological line of gaze from the main centered female. Invisible horizontal lines are implied by the deity’s flute towards the main female, as well as by the young male at her left shoulder. These two invisible lines seem to interpret a way of getting her attention or to encourage her. The tall male figure standing in the back appears to be gazing out on an audience, while each of the remaining two females demonstrate an invisible diagonal gaze towards their papers. This artist used many invisible lines that created a sense of motion.
Shape:
The artist filled the picture with organic volumetric shapes. The curved muscular shape of the flute player represents both “force” and “whimsical” contour. The main female has a stoic sitting pose with only movement to the hands. The shape of the neck and back of the woman at the far left is well noted. All of the shapes in the picture are well proportioned and balanced. Many angular shapes are represented in a scene of fluid movement.
Space:
Even though this is a flat two dimensional oil painting, the life-size figures project out as if they are in the room with you. The only negative space is the small amount of background that assists with depth.
Light:
It was noted during the 17th century, Romans had actors and musicians perform at weddings and other festivities. For that reason, I believe the picture takes place in a well lit environment either by many candles or by natural light from the left of the picture. The background is very dark with what appears to be two arches, the white curve and the vague curved lightness in back of the far left female. The flute player is closest to the source of light due to the strong illumination on his back. The painter darkened (shadowed) the front of the flute player’s face, skin, and fabric to show his back is turned to the light. To add value, his shadow is projected onto the main female’s right hand and lower part of her instrument. She is illuminated as well but just a shade darker than the flute player. The people in the background are more shadowed with much less light to help create more depth. Paolini practiced atmospheric perspective, the same as Caravaggio.
Color:
Once again, Paolini did as Caravaggio and used the main female’s warm rich red skirt at the front. A contrast of the red skirt and the flute player’s violet-blue fabric is well placed in the center, adding a “festive” appearance. The flute player’s white skin and her white blouse contrast dramatically against the dark brown’s of the background. I realized the men in the picture performed manual labor due to their “farmer tans”. At the back of the neck of the flute player and his arms, are noted tan lines. Also, the lighter colored foreheads of the other two men with their sun-burnt noses are observed as well.
Texture:
Smooth shallow brush strokes were noted throughout the painting. It is implied the skin of the flute player is soft due to the “whiteness”, yet hard due to the highlighted muscular features. Due to the gray shading on the red skirt and violet-blue cloth, you can almost feel the richness of the fabric.
Art Principles
Balance:
Symmetry is present as well as radial balance. All of the human forms are equal in size and due to the depth perceived, the picture comes out to you.
Emphasis:
At first my eye was drawn to the illumination of the flute player’s white skin, and then I seen the main female’s red skirt, as well as her gaze. I would consider that to be a triangle of interest. With the exception of the woman with her back to the artist, everyone appears to be involved musically. However, the women in the center is with a flat expression, making you wonder what she is thinking.
Rhythm:
Music is heard while looking at this painting. Mouths are opened in a singing gesture, instruments are being played, and a jolliness is projected from the men as well as the women in the green dress. There is a pattern of noise and energy.
Media and Technique
Painting:
Oil paintings were shiny and slow to dry. The oil could be easily be manipulated, easy to contour, and simple to create texture with. These paintings will fade if not protected from light.
-Kim
(please see Carravagio Discussion Group for posting including pictures. thank you Mitsi)
By Pietro Paolini 1603-1681
Visual/Formal Analysis of Bacchic Concert
Introduction:
I was attracted to the illumination of this very large 46”x69” oil on canvas named “Bacchic Concert.” It was painted by Pietro Paolini during the 17th century Baroque period. This artwork is part of the Karl & Esther Hoblitzelle collection at the Dallas Museum of Art.
I couldn’t help but notice the half-dressed male figure that was dressed like Dionysus, the greek mythological god of wine and merriment. Was he someone pretending to be Dionysus? The beautiful female sitting in the middle with the instrument, why is she looking at the painter? And, why is there a female to the left with her back to the artist? I did not recognize the name of the artist but realized his work was similar to some of the ones we had studied. I was amused by the painting and chose it as my project. Later, I discovered Paolini had mannered Caravaggio.
Art Elements
Line:
Just about every form, object, and shadow has curved lines. From the large instruments, the spine of the deity, shoulders of the females, fabrics, faces, and shadows in background, all represented strong curves. Notice the psychological line of gaze from the main centered female. Invisible horizontal lines are implied by the deity’s flute towards the main female, as well as by the young male at her left shoulder. These two invisible lines seem to interpret a way of getting her attention or to encourage her. The tall male figure standing in the back appears to be gazing out on an audience, while each of the remaining two females demonstrate an invisible diagonal gaze towards their papers. This artist used many invisible lines that created a sense of motion.
Shape:
The artist filled the picture with organic volumetric shapes. The curved muscular shape of the flute player represents both “force” and “whimsical” contour. The main female has a stoic sitting pose with only movement to the hands. The shape of the neck and back of the woman at the far left is well noted. All of the shapes in the picture are well proportioned and balanced. Many angular shapes are represented in a scene of fluid movement.
Space:
Even though this is a flat two dimensional oil painting, the life-size figures project out as if they are in the room with you. The only negative space is the small amount of background that assists with depth.
Light:
It was noted during the 17th century, Romans had actors and musicians perform at weddings and other festivities. For that reason, I believe the picture takes place in a well lit environment either by many candles or by natural light from the left of the picture. The background is very dark with what appears to be two arches, the white curve and the vague curved lightness in back of the far left female. The flute player is closest to the source of light due to the strong illumination on his back. The painter darkened (shadowed) the front of the flute player’s face, skin, and fabric to show his back is turned to the light. To add value, his shadow is projected onto the main female’s right hand and lower part of her instrument. She is illuminated as well but just a shade darker than the flute player. The people in the background are more shadowed with much less light to help create more depth. Paolini practiced atmospheric perspective, the same as Caravaggio.
Color:
Once again, Paolini did as Caravaggio and used the main female’s warm rich red skirt at the front. A contrast of the red skirt and the flute player’s violet-blue fabric is well placed in the center, adding a “festive” appearance. The flute player’s white skin and her white blouse contrast dramatically against the dark brown’s of the background. I realized the men in the picture performed manual labor due to their “farmer tans”. At the back of the neck of the flute player and his arms, are noted tan lines. Also, the lighter colored foreheads of the other two men with their sun-burnt noses are observed as well.
Texture:
Smooth shallow brush strokes were noted throughout the painting. It is implied the skin of the flute player is soft due to the “whiteness”, yet hard due to the highlighted muscular features. Due to the gray shading on the red skirt and violet-blue cloth, you can almost feel the richness of the fabric.
Art Principles
Balance:
Symmetry is present as well as radial balance. All of the human forms are equal in size and due to the depth perceived, the picture comes out to you.
Emphasis:
At first my eye was drawn to the illumination of the flute player’s white skin, and then I seen the main female’s red skirt, as well as her gaze. I would consider that to be a triangle of interest. With the exception of the woman with her back to the artist, everyone appears to be involved musically. However, the women in the center is with a flat expression, making you wonder what she is thinking.
Rhythm:
Music is heard while looking at this painting. Mouths are opened in a singing gesture, instruments are being played, and a jolliness is projected from the men as well as the women in the green dress. There is a pattern of noise and energy.
Media and Technique
Painting:
Oil paintings were shiny and slow to dry. The oil could be easily be manipulated, easy to contour, and simple to create texture with. These paintings will fade if not protected from light.
-Kim
(please see Carravagio Discussion Group for posting including pictures. thank you Mitsi)
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