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Unlike most contemporaries of his time, and this is about the era of the Venetian masters, Giorgione did not try and did not write large compositions with a large number of figures on it. On the contrary, in most of his works this artist was laconic, and he expressed the essence of the paintings only through his own, internal associative understanding of the plot picture. Very often, the artist gave viewers the opportunity to think out his creative works of art on their own, on their own.
Therefore, in his work entitled Adoration of the Shepherds, the artist depicted not only the obligatory figures that were supposed to be there logically, but also a special background. He complements and takes an active part in the actions of the main characters - the family of true Saints and bowed their knees as a sign of respect and devotion to the shepherds.
As for the background, its perspective, deep into the distance, closes somewhere far on the horizon. And the blue mountains close it. Such a display of the landscape and background behind the backs of the shepherds creates a sense of the presence of atmosphere and air.
A separate role in the picture is given to lighting, which here has become some other, unlike lighting in other works of the artist. There is no purity and clarity, which are an integral part of the Quattrocento works, but there is a dim, barely noticeable light that appears after noon. This feature of lighting gives the picture additional volume and integrity. Dark-colored caves create a contrast with the clothes of Mary and the rightful husband Joseph, as well as with the clothes of shepherds, whose obedient backs are skillfully repeating the outlines of the entrance to the caves not far from the characters.
All this made the picture of the artist and master of his craft Giorgione one of the most extraordinary and interesting among all the creative figures of his time.