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Essay Topic: Madonna and Child Giovanni Bellini c.1470-1475

Requirements: What I require is the Stylistic & Formal Analysis. So, the essay must have the following parts: description, elements, shape, line, color value, light, texture, space / volume. Then, Formal Analysis Organization: balance, unity, variety, movement, emphasis.

Essay Body:

MADONNA AND CHILD GIOVANNI BELLINI c.1470-1475

(I) Description

Madonna and Child c. 1470-1475. Tempera and oil on panel.

(II) Elements:

SHAPE

Shape, as opposed to form, may not be a clearly defined three-dimensional property of the object, but rather some indirect or implied borders or switches, by means of various lines, colors, textures or patterns, which allow the onlooker to identify the object's property (the whole vector or some select aspect) within the two-dimensional surface. The central objects here are clearly two: the perfect human (and indeed divine) bodies defined by rather streamlined shapes. The two human statures and the book of Holy Writ alike can formally be judged as organic, in that they accurately model (map) the observable reality in its entirety, rather than with respect to some select and overemphasized aspects. Formally, then, the objects properties and shapes in particular map the reality as is, all facets blended and inseparable. Because of the close precision, the secondary properties such as symbolic and implied remain secondary and overshadowed by the realism and beauty of the objects.

One reason why we tentatively rejected the geometric property as dominant is because the emphasis isn't on the traditionally abstract and ideal nature of these geometric elements per se. One latent--and extremely important--way in which geometric element is characteristic of the shapes pertains to my surmise that geometry underlies the constitution of the human bodily and facial properties. Indeed, while the Divine Family appears realistic, this realism is ideal. As it ought to be: the divine has to do with truth and permanence in structure and content. Structures, shapes and the like properties should therefore bridge reality and eternity.

One critical principle of harmony underlying shapes and structures was long known as the golden mean or indeed the Divine Ratio. It pertains to the property whereby the ratio of the so-called Divine rectangle sides are 1 to 1.618.... (approximately, as this number is irrational or asymptotic). What's so remarkable about this ratio is one paradoxical property: If we were to separate the 1x1 quadratic section, the inscribed circle would have the unique radius of 1. However, each residue of .618 also can be separated into sections, with the circle inscribed in the quadratic form and so one--in which case, the resultant spiral consisting of such chords will be smooth and continuous, as if we were merely continuing to draw the complete circle. Evidently, far from just any underlying ratio of rectangle sides could possibly yield the same smoothness, as if the circle remained a circle (not an ellipse with unequal radiuses) yet its radius was subject to gradual entropy which still did not result in any discontinuous breaks of shape. One formal way of obtaining this property is to study the following [static] law of motion: F2=1+F. One can make sure that this is a recursive, or fractal, pattern in its non-closed or implicit form, which can thus only have an asymptotic solution if any. Indeed, the process can be solved in iterations: F=sqrt(1+F)=sqrt(1+sqrt(1+sqrt(1+...))) and so on and on, which will converge to something like 1.618...Alternatively, one can solve the quadratic equation, to obtain the roots: F=(1+sqrt(5))/2, which solution is an irrational number because the square root of 5 is irrational.

Now, why is it important? For one, the ancient Greek architects and artists noticed a long time ago that this golden ratio secures an optimal proportion for architectural forms and shapes in art. This discovery was but natural for the era of Classicism seeking after the ideal and perpetual as the only criteria of 'realness' to strive toward. I have noticed, consequently, that Bellini has arranged for the painting to be organized on a rectangle area that closely resembles the golden proportion. My hunch is, it might be optimal to depict the ideal human and otherwise objects by placing them in such 'divine' framework in the first place. That framework or coordinate plane could, in other words, be conducive to harmony in and aesthetic appeal of shapes--more so when it comes to utilizing the divine framework in depicting the Divine Family. Finally, as was mentioned before, the fractal pattern in itself secures a sense of implicit dynamics even in the inherently static properties and settings.

LINE

Although the overall setting is rather conservative, which refers to the background organization, shapes, and variety, Bellini does employ a winning linear variety. His early work oftentimes referred to as linearist period, he still does not seem to have utilized a toolkit of explicit diagonalization or otherwise sharp borders in this particular piece. The main contour lines are clearly defined yet the facial and bodily details are fine and smooth. The painting is not replete with vertical or horizontal borders either. At the same time, Bellini does resort heavily to implicit linear (curvilinear) toolkit--in the form of changing and contrasting colors, emphases, and volumes. We will dwell on these in the next section, and for now let us consider the curvilinear patterns he employed in painting this piece. We do not want to specifically address the aspect of texture and patterns, but the background lining pertains to a number of aspects that are of interest in their own right. The onlooker will appreciate the background very differently from different perspectives. At first, I could only see a fuzzy pattern resembling dimmed concentric circles of multiple origins. It wasn't until I printed out a copy that I was able to examine the pattern of lining more closely. It turned out to be ellipses not circles--which is natural, given that the surface is rectangular. While the circle has long been treated as the abstract and ideal geometric object standing for perfection and eternity, the ellipses placed within the 'divine ratio' framework might do just as good a job in emphasizing the divinity of the objects.
On the one hand, the concentric ellipses could be a weak form of factuality; in addition, their fuzzy lines themselves seemed to reveal a self-resembling pattern of factuality (whereby a lower-level element or section captures or represents the whole).

On closer examination, the hypothesis of structural factuality was rejected: the eye level perspective reveals more organic (flower-type) patterns than abstract (even though the bird's-eye perspective still retains that possibility). Moreover, the ellipses, while clearly concentric, turned out not to be exactly elliptic, but rather 8-shapes. That's perfectly fine as far as I am concerned, since '8' has long stood for eternity and divine ideal: ongoing yet recurrent (and hence stable) motion. Finally, the elliptic property might in itself yield a rich host of implications. For one, any ellipse would have the two poles, or focal points, entirely determined by its radii. These a and b parameters converge in a circle, thus degenerating its polar structure to one-single center. It would in my opinion be extremely interesting to study the properties of the divine ellipse, i.e. one characterized by radii a and b whose ratio is the golden mean. I am most confident that Bellini positioned Madonna's eyes and mouth closely around the level of the corresponding focal points or poles, her face symbolically being ideal to the perfection of the divine ratio ellipse. Of course, it's just an approximation or asymptotic properties, but it refers to my hypothesis on the nature of geometry vs. organic of lines in Bellini's depicting of human objects.
The author reaches a remarkable mastery in exhibiting facial features that are very accurate (rather than archaic or symbolic), appealing and calm. The Christ child's face is shown to be inspired by Holy Spirit, which Truth, the source of all wisdom, reunites with the Word, the source of all creature, laws of motion, and life.

COLOR/VALUE

Color pertains to the properties of objects absorbing light waves of certain length and not absorbing others. That explanation is of course somewhat fuzzy, and does not tell us a lot about the 'properties ' of virtual objects such as PC-generated images, or indeed their elements--the pixels that are consistent in properties yet may take on nearly any color value. However, suffice it to say that, light waves (which when mixed result in the white color, black 'color' simply being the absence of light or waves) can be decomposed or filtered according to the circle of color. The latter is a helpful instrument in that it allows us to judge on analogous versus complementary, cool versus warm colors etc. In this particular instance, Bellini is using an appropriately conservative palette relevant to the theme and message. In the previous section, we discussed lines. The 'implicit' lining we referred to is the use of color which creates both the borders and shapes. Indeed, analogous colors may be used to convey continuity, while dissimilar or even complementary combinations may signal discontinuity, rigidity, contrasting patterns, or even the negativity of emotions (resulting from conflict). I would argue that Bellini isn't overly cautious about using dissimilar colors, and in any event his combinations are most conducive and evoke no negativity of emotions. The dark and the purple red are the two divine colors he employs to depict Mary's cloth: one stands for sanctity (unworldliness) and the other for royal power--indeed, to make reference to her being the Queen yet of quite another world. Her divine Son, even by association with herself is Rex Tremendus, yet his kingdom belongs elsewhere.

Colors that are conventionally considered primary are the basic orthants: red, yellow, and blue as well as any combinations thereof. The secondary dimensions (ones emphasized as in fact central by Goethe) are green, brown, and magenta. Bellini uses the primary colors in depicting cloths. Secondary ones are reserved for background and textural patterns, and tints are chiefly employed in exhibiting the bodily/facial properties. The latter distribution of color very cleverly and almost automatically assigns warmth to the intrinsic properties of the divine objects, as well as to the symbolic gold at the background, while the cooler hues pertain to attributes and objects secondary (non-focal). In particular, the book of gospel is also warm in color, as is the parapet upholding it. The background is bounded with golden enamel, of the type one finds on icons and statues. Gold may be a clever combination of the primary and the secondary colors: yellow and brown.
It should be pointed out, though, that the late Venetian artistic tradition shows to employ far more relaxed standards of contrast and conflict in colors. Indeed, the legacy was characterized by use of highly intense and varied colors. In that context, one may talk about some 'deflationary' expectations on the part of the onlooker, who will not experience a high negativity as reaction to contrast and variety (frequency of change), but will even expect that.

When it comes to color, it could indeed be very convenient to refer to it by its quantum number, i.e. its coordinate along each of the three dimensions: R, Y, B. We could in fact normalize the scales (axes) to [0..1], so that any color would range as a vector between [0,0,0] and [1,1,1], these two extremes corresponding to black (zero light value) and white (light itself).

LIGHT

The source of light can easily be identified by bearing in mind that notion of concentric ellipses. It appears, quite naturally, that the center (never mind the parallel plane) of these 'radio waves' spreading all around is Mary's head and shoulders (her halo being remarkably parallel to all these, which could stand for a unison and harmony, and certainly reinforce her status as the Queen). The divine objects are themselves the epicenters of light, which is shown by the tint of their skin.

TEXTURE

Texture conventionally pertains to the feel one gets for the objects or patterns as if touching their surface. Though conceptually distinct, that aspect could be quite difficult to separate from lines and patterns in practice. Since the lining is fine (but not fuzzy) aimed at depicting the perfect forms and themes, so are the patterns. The brushstrokes aren't painterly if only because the author's objective isn't to depict dynamics or uncertainty of any kind. On the contrary, the divine and eternal objects call for quite different tools to exhibit life and realism. The podium exhibits a mild marble-type texture. The background might be somewhat fuzzy. Finally, the cloths' texture lies primarily in the predictability of their properties.

SPACE / VOLUME

There can in fact be a tradeoff between using lines (or otherwise sharp contrast of colors) versus volume to attain the precision of objects. Bellini's early work shows a tossup that's closer to lining than spacing. The objects look very persuasive, even though three dimensions might not be the aspect or means emphasized the most.

(III) Organization

BALANCE

The painting does indeed prove balanced overall. For one, we have maintained that Mary may in fact have been intended as the center or origin, her halo being co-directional to the concentric ellipses. Moreover, the imaginary vertical axis of symmetry does suggest that her disposition is perfectly symmetric. To argue that the Christ child intervenes with the symmetry and balance because he is positioned to the left is no more than a superficial judgment. For one, Mary upholds him firmly, thus conveying the overall assurance of stability and balance. For another, the Holy Writ is positioned to the right, in which light the Word Incarnate on the left is balanced by the Word's (gospel's) presence on the right-hand side-a perfect albeit implicit symmetry!

Positive and negative space pertain to the main versus the secondary areas or subspaces of the composition. The adept artist that Bellini is, he manipulates the impression of motion by means of the communicated uncertainty as to what area is the positive space. We shall discuss this phenomenon later on, applying it to the notions of multiple focal points or spaces. In this particular setting, the ambiguity as to the borders of positivity allows him to position the subspaces as symmetric or balanced. He achieves that by symbolic tools as well. (cf. The analogy of Christ child as the Word Incarnate and the Book. Mary is balanced, so these issues may not apply to Her) ...

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