{"id":2582,"date":"2013-03-06T13:34:35","date_gmt":"2013-03-06T13:34:35","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=2582"},"modified":"2013-03-07T11:56:31","modified_gmt":"2013-03-07T11:56:31","slug":"a-marvel-of-painting","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=2582","title":{"rendered":"A marvel of painting"},"content":{"rendered":"

 <\/p>\n

\"angel<\/a>

Angel faces (detail) from Virgin and Child Enthroned with Four Angels<\/p><\/div>\n

I managed to get to The Frick<\/a> on Saturday to see the Piero della Francesca exhibit, and this one show, alone, made the long drive down to NYC and back worthwhile. I\u2019d done a quick tour of a few galleries in Chelsea on Friday and was feeling a little dispirited. There was plenty of fine work, but nothing that I would have regretted missing, if I\u2019d decided to blow it off and see Lebron at Madison Square Garden, or just stayed home. Ironically, I had to get to the museums for the sense that I was seeing something with fresh eyes. So, here\u2019s a tip. If you\u2019re going to The Frick for Piero, my advice is simple: save the best for last. Look at the lesser paintings first, and then be prepared to stand silently in amazement by the contrast between the other work and the greatness of\u00a0Virgin and Child Enthroned with Four Angels<\/i>. This show is all about that one painting, and it works in this room the way Vermeer\u2019s\u00a0Milkmaid<\/i>\u00a0worked at the Metropolitan in 2009. It\u2019s flanked with collateral paintings, but with both shows, you’re attending essentially a one-painting exhibit. I may be the only person who sees it this way, but the contrast between the six other paintings and this masterpiece couldn\u2019t have been more dramatic for me. As I looked at the fragments of the altarpiece, the individual figures, I had to suppress the urge to ask for my admission fee back: after a minute or so I wanted to move on. My response was to wonder why American collectors took such pains to secure work by this founder of Renaissance painting. (Historical note: they bought them for only hundreds of thousands of dollars.) When I got to\u00a0Virgin and Child<\/i>, though, it was as if I were meeting a completely different painter. I had the rare sensation of looking at a quality of work I\u2019d never seen before, which is nearly impossible to experience after decades of viewing thousands of paintings. I don\u2019t know if this painting could change your life, as Peter Schjeldahl suggests, but I can attest that it ought to change what you think it\u2019s possible to do in paint. Or maybe I should say it will make you realize that there are some things the rest of us will never be able to do.<\/p>\n

The other paintings in the show don\u2019t have the same uncanny aura of absolute stillness and impenetrable unity as the Virgin and Child<\/i>, in which every form and detail seems to emerge out of continuous field of energy\u2014everything in the image seems to share the same essence, even though the painting is really the sum of a thousand intricate details. To give the other work its due, Piero\u2019s portrait of St. Augustine is enormously impressive: the way he rendered the glass staff and the narrative panels of Gospel stories sewn into the saint\u2019s cope. Yet the sky behind him and the firmament underfoot seem to be formally distinct from the figure, as they would seem in everyday life. There are any number of ways he could have rendered them: it’s just backdrop. The whole point of the painting is what’s in the foreground, the figure, and the background might as well have been negative space. By contrast, everything in Virgin and Child<\/i> seems to be an integral part of everything else: columns and robes merely different manifestations of something common to both; people and architecture are different embodiments of one transcendent . . . something. That something, in this case, is whatever was moving Piero\u2019s brush around. (This sense of interpenetration reminded me of how the trees seem to transform imperceptibly into the clouds above them in Fragonard\u2019s Progress of Love<\/i> elsewhere at The Frick.) The background and foreground seem to be part of a continuum, organized geometrically, the detail in the wall’s crown molding just as carefully rendered as the rosettes at the base of the throne. To some degree, it’s almost as if the image offers an “all over” effect. Visually, everything counts as much as everything else.<\/p>\n

The astonishing effect this painting can have on you seems to derive from a host of subtle achievements, most of them having to do with formal choices and the handling of materials. You\u2019re seeing utter mastery of a medium. On a purely technical level, it evokes that question you always want to ask yourself when you see a work of art: how did he\u00a0do<\/i>\u00a0that? For the past two days, in my head, I\u2019ve been trying to come up with a way to describe the look and feel of the painted surface. Your field of vision, which feels enormous even though it has shrunk down to only 30 inches by 42 inches, seems to hum with anticipation though you’re watching a baby do nothing more than reach for a rose. Except for the maze of cracks in the lower left corner, on the angel\u2019s white robe, Piero managed to hide all evidence that the image is actually painted. So he did exactly the opposite of what I look for in so much work: that tension between seeing the paint as an end in itself while you discern, at the same time, whatever illusion the paint evokes. With this work, you forget that you\u2019re looking at a painting, and you seem to be eavesdropping on another, utterly actual world, which is somehow more vivid and real than the one you see every day from nine to five. Yet you aren\u2019t seeing anything remotely like what passes for hyperrealism now, or even Vermeer\u2019s remarkable photographic effects (those are on view in another room at The Frick). It offers a faintly stylized rendering of human figures and architecture, and yet it\u2019s done with such skillful and gradual shifts in hue and value, and such authority of line, that you immediately enter a totally coherent visual world.<\/p>\n

This scene appears to be lit by two sources of light. Scholars say that the six figures are clustered together in an open courtyard, lit by the sky. And the scene does seem to be illuminated from all directions at once, a world without shadow, to the point where the figures and objects almost seem to generate their own light. Yet take a little more time, as you stand before it, and you\u2019ll see that another light is shining on everything from behind your left shoulder, so that the angel in a white robe casts a faint shadow onto the base of the throne. I marveled at the way Piero handled that shadow. It almost isn’t there, as you would expect the angels themselves to be, yet these visitants are solid and opaque and look fully human, though they cast ethereal shadows that aren’t really dark. That shadow is<\/em> a bit darker, as it should be, where it emerges from the angels\u2019 bare feet, and then grows fainter as it climbs up the row of rosettes carved into the throne\u2019s foundation. Those rosettes are painted with absolute care, and you can feel the delight he must have felt as he spent time carving them with paint: there\u2019s something gorgeous about the warm gray tone he used to handle the tiny shaded curves of the petals. He\u00a0loved<\/i>\u00a0painting that little strip of carved stone. You can feel it. If you look at the rosettes in the shaded section, though, you see that he didn\u2019t make everything in the shadow darker, he simply took the edge off his brightest and darkest tones, as if he\u2019d adjusted the contrast more toward the middle and away from the light\/dark extremes in the brightly lit passages.\u00a0He does to that little shaded portion what you would do to a distant portion of a landscape\u2014the brights aren\u2019t as bright and the darks aren\u2019t as dark. So he found a way to indicate shadow without actually darkening even that small part of his vision.<\/p>\n

That\u2019s just one minor section of the painting, and it\u2019s something nearly impossible to fully appreciate in reproductions. On that note, if and when you actually see the painting, look at the skin tones. This is something you can observe crudely in the photographs, but the delicacy of the color appears to be impossible to capture with a camera. He\u2019s arrayed the four angels around mother and child, and they seem to be spiritual pillars, the load-bearing elements of a larger order, keeping the sky from falling on all of them. In their robes, they’re a personification of the architectural columns in the background. What\u2019s marvelous is how ordinary and human these angels look in one respect\u2014they stand around like domestic servants, obedient but maybe a little bored, the one in white with arms crossed, thinking of other things. At some point you realize they don\u2019t have wings. So how do you know they\u2019re supernatural? If you look at the skin tones, you realize Piero has color-coded his cosmos. The Madonna is fully human, and her face has the sanguine tone of a woman full of love, a little flushed, with the rosy tint of her warm blood. Then look at the angels, and you can see the painter first laid down a layer of color somewhere between blue and green for the angel faces. Then he built up a more natural flesh tone on top of it, allowing the light to pass through the upper layers and reflect back off that cool undercoat. The contrast between those layers is integral to the internal tensions of the entire composition, which hovers been cold, geometric austerity and warmly accessible humanity. What\u2019s incredible is that the angels have personalities lurking behind those eyes, with facial expressions that convey human attitude, even though there isn\u2019t a trace of pink in their skin. Eventually, you notice that the skin tone for Jesus hovers between the two extremes: it\u2019s nearly as cool as the angels\u2019 but slightly warmer, a mix of human and divine, both God and man.\u00a0Every square centimeter of this painting was given obsessive, loving care, and it isn\u2019t hard to imagine that Piero surprised even himself by what he accomplished when finally stood back and looked at what he’d done. Not long ago, I had a conversation about painting with Cole Carothers<\/a>, an excellent Ohio painter I met at Manifest on my last visit, and we agreed that in the best work, you reach a point where you see yourself doing things don’t really know how to do. It just starts happening. I suspect Piero reached and went beyond that point with this painting and was asking himself the two questions all serious painters want to be asking when they cease working on an image: How <\/i>did I do that? Will I ever be able to do that again?<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

  I managed to get to The Frick on Saturday to see the Piero della Francesca exhibit, and this one show, alone, made the long drive down to NYC and back worthwhile. I\u2019d done a quick tour of a few galleries in Chelsea on Friday and was feeling a little dispirited. There was plenty of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2582","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nA marvel of painting - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=2582\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A marvel of painting - represent\" \/>\n<meta property=\"og:description\" content=\"  I managed to get to The Frick on Saturday to see the Piero della Francesca exhibit, and this one show, alone, made the long drive down to NYC and back worthwhile. I\u2019d done a quick tour of a few galleries in Chelsea on Friday and was feeling a little dispirited. 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