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Form Analysis Of A Work Before 1800
Emma Sandberg
2/5/15
Luca Giordano's Birth of the Virgin

Luca Giordano was one of the most prominent painters of his time in Italy. He lived from about 1632-1705 and composed work in his later life that was ahead of his time, and anticipated the later style of Rococo. Giordano's work "Birth of the Virgin" was one of his most revered works. Using oil on canvas, Giordano experimented with the use of light and layers of perspective in this work, showing two tiers of the biblical scene that are connected in some respects, yet separate in their actual realms, to evoke a powerful yet peaceful mood just after the birth of the Virgin Mary. The overall experience of seeing this work in person is captivating because of the multiple dimensions and complexity of the image. The scene of the painting is set just after the birth of the virgin Mary, and she is shown being cared for by a group of attendants, with her father looking on close by, and her mother resting off to the side. The lines in the painting contribute to its complexity in that there is a horizontal line organization that separates the top tier (the heavenly realm) from the bottom tier (the earthly realm) of the painting. This horizontal line shows a difference between the realms, but the two worlds are also connected by the lines in the painting, especially in an emotional sense. This effect is achieved by the dramatic diagonal coming down from the heavenly realm straight down the middle of the painting, crossing the horizontal and coming through the group in the center foreground. This diagonal is a light beam shooting from the heavenly clouds to the infant virgin Mary, who is surrounded by her father Joachim, and the attendants. This means that even as an infant, Mary is destined to be holy, and the heavenly light shines on her right after birth because she represents eternal purity. There is also a series of lines in the painting made by the gaze's of the subjects. They seem to be connected through their gaze, while also drawing attention to the light coming from the heavens. In addition to the lines of the painting, the shapes of the painting also contribute to the composition. The shape composition is arranged around the middle group of people in the center foreground, with three other groups of activity to either side of the middle group, and one other group above it. The middle shape is arranged so that the eye is drawn mostly to Joachim, who is shown proportionally larger to the attendants, and has a halo around his head. The eye is then lead to the infant because that is where Joachim is looking. From the viewer's perspective, the group to the right of the middle group emphasizes a boy who seems to be preparing a bath for the infant. Since his eyes go towards the light beam coming down from the heavens, the eye is then drawn to the group above the center group. This shape leads to the small putti that are gazing on the biblical scene. On the left side of the center group, there is Mary's mother Anne, and her attendants. Anne is emphasized by her eye catching halo around her head in this group. The meaning behind the arrangement of the shapes in this painting is significant to the subject matter. It points out the important and holy figures and connects them to each other, as well as to the heavenly realm above them. The general feeling about the organization of how the figures are looking at each other and guiding our eye around the painting is one of unity. Everyone in the painting is unified by their care for the infant Mary, and are also unified by their connection to the heavens. It also presents a calm mood of knowingness in that everyone has a job to do, knows what that job is, and is helping out with the new baby. There is also a dog to the left side of the center group that is very calm, yet alert. He is awake, but not running around, and just sort of laying there. This also contributes to the mood and shows a sign of loyalty to the family. Light coincides with the shapes of the painting as well to connect the different realms. The two clear light sources are the light beaming from the heavens and the light from the fireplace. The light from the fireplace is much dimmer than the radiant light from the heavens, suggesting that the heavenly light is clearly superior to the earthly light. This luminous and dramatic light from the heavens creates an illusionistic effect. This suggests that the subject matter is not intended to be showing a completely realistic event, but perhaps a dramatization of a biblical event to display certain powerful imagery and evoke a scene with more impact to the viewers. The highlighted areas in the painting are those effected by the heavenly light, including the halos around Joachim and Anne's and Mary's head. This effect makes the family a focal point, even though the three members are spread throughout the painting. The halos connect the figures to each other as a holy family, as well as connecting them to the heavens and God the Father who supposedly is looking down on them with the light. This creates a serene quality that also contributes to the unified and peaceful feeling. Another aspect of the form is the painting's color. The work's colors are harmonious with one another in that the colors have a similar luminous and warm quality, to perhaps highlight the biblical aspects of the painting, and to emphasize the heavenly light. There are contrasts with the bright yellow to make it pop, but the contrasts are not harsh, but rather complimentary in tone. The warm yellows draw attention and link together the heavenly light and the halos around Joachim, Mary, and Anne. Similar colors are used throughout the painting, but also the painting shows a variety of color, although staying in the same mood of the color, which is a general warmth. The colors that Giordano used seem to cradle the newborn Mary with a tranquil palette of inviting new images. The interesting colors are exciting, yet peaceful and inviting, which conveys an ideal environment for a newborn baby. The viewing position is from the side. The figures are arranged in relation to one another in groups, and according to what they have to do with the newborn baby. Anne is resting after just having given birth, and Joachim is in the foreground gazing at his newborn baby girl. The attendants are arranged around Mary to help with her bath and other needs. The figures are looking at each other or up at the heavens. The scale of the elements are fairly proportionate to each other. Joachim seems to be slightly larger in proportion to the attendants around him in the foreground. Also Mary and her attendants seem farther away proportionately than they would actually be if we were standing in the same room looking at the scene. The work compares in scale to the viewer as about an eighth of real human height. The painting itself is fairly large horizontally, but the figures themselves are not close to the size of real people. The painting was made to be in a church, so the size can account for that purpose, to be viewed from far away by many people. To conclude, Luca Giordano's Birth of the Virgin is a powerful work that uses primarily line, light, color and balance as compositional elements to give meaning to the biblical scene of the following moment after the virgin Mary was born. Giordano incorporates two realms in this work, and separates them with a horizontal line, which he interrupts with a striking diagonal line of light down the center of the painting. The figures are connected by light elements and the family is connected by their halos. The heavens give off a powerful and dramatic feeling for the viewer, because the light is coming through these large cascading clouds but then gently beams toward the virgin Mary as the light highlights her. This effect illuminates Mary's innocence and her specialness, almost as a premonition for her future holiness.

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