Pictorial Space throughout Art History: Cézanne and ... - ARAS
Pictorial Space throughout Art History: Cézanne and ... - ARAS
Pictorial Space throughout Art History: Cézanne and ... - ARAS
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<strong>ARAS</strong> Connections Issue 2, 2012<br />
<strong>and</strong>-forth movement to relate it to the rest of the picture. The planes do not move<br />
rhythmically against each other <strong>and</strong> the picture does not build. The forms on the<br />
table seem jumbled rather than unified.<br />
Plate 7: Veronese <strong>and</strong> van Dyke<br />
There is an astonishing clarity of position in Veronese's painting. Each<br />
plane (Mars, Venus, the horse, the cherubs, the yellow tree in the background, the<br />
dark leaves in the foreground, the gray building in the middle ground, the white<br />
clothing) occupies a distinct position in depth. Venus's body pulls left, up <strong>and</strong><br />
Plate 7-1 Paolo Veronese. Venetian. Mars<br />
<strong>and</strong> Venus United by Love. 1570s. Copyright<br />
2000-2009 The Metropolitan Museum of <strong>Art</strong>,<br />
New York<br />
back, against Mar's body which<br />
pulls right, down <strong>and</strong> forward.<br />
My eye is drawn in a circle back<br />
over Mars, over the horse,<br />
behind the yellow trees, around<br />
the building <strong>and</strong> the large<br />
leaves, over the white cloth,<br />
<strong>and</strong> over Venus.<br />
The painting is like a<br />
machine with many moving<br />
parts: the planes push<br />
vigorously against each other<br />
but are united into a coherent<br />
whole. Because the planes are<br />
The images in this paper are strictly for educational use <strong>and</strong> are protected by United States copyright laws. 46<br />
Unauthorized use will result in criminal <strong>and</strong> civil penalties.
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