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 />
intensely responsive to each other, the painting's structure conveys erotic<br />
relatedness more vividly than the subject matter.<br />
Van Dyck's painting<br />
illustrates Saint Rosalie's ascent<br />
in vividly swirling movement.<br />
But in terms of pictorial space it<br />
seems amorphous. The planes<br />
are indistinct <strong>and</strong> jumbled; there<br />
is no clear sense of space between<br />
them. Veronese's rhythmical<br />
movement is missing here. The<br />
painting does not unify around<br />
the figure of Saint Rosalie as<br />
Veronese's painting unifies<br />
around the figure of Mars.<br />
Plate 8: Rembr<strong>and</strong>t <strong>and</strong> van Gogh<br />
In Rembr<strong>and</strong>t's self portrait the diagonal thrust back along his right<br />
shoulder <strong>and</strong> over his face is contained by the diagonal that advances from the<br />
upper-left corner to the lower-right corner.<br />
Plate 7-2 Anthony van Dyck. Dutch. Saint<br />
Rosalie Interceding for the Plague-Stricken<br />
of Palermo. 1624. Copyright 2000-2009 The<br />
Metropolitan Museum of <strong>Art</strong>, New York.<br />
The head divides the rectangle in proportion, both horizontally <strong>and</strong><br />
vertically. The plane of the head pulls right, up <strong>and</strong> back, in opposition to the<br />
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