ARTH-205.001 Leila Pongrácz

"The Delivery of the Keys to Saint Peter" Fresco by Pietro Perugino

Conclusion

Pictoral Space

The artist used various techniques such as atmospheric perspective, linear perspective, and orthogonal and horizontal lines to create the illusion of three-dimensionality. The orange stones act as orthogonal lines that give the viewer a sense of moving forward and back in space. Because the figures are grouped in the foreground and then creating smaller figures that establish the illusion of moving back in space, the artist effectively used horizontal lines and analysis to create depth. The figures overlapping each other in the foreground also help contribute to the illusion of three-dimensionality on a flat fresco. It is also interesting to note that this button is placed exactly where the vanishing point is!

In Conclusion,

The artwork "Christ Handing The Keys to Saint Peter" painted by Perugino is a masterpiece that showcases a unique style that is represented via the illusion of three dimensionality. The artist has employed several techniques such as formal structures, atmospheric and linear views, orthogonal lines, contrapposto, visual expression, composition, and color to produce a harmonious composition. The realistic portrayal of the artwork is achieved through the use of contrapposto and foreshortening, which is an adaptation of sculptural tradition. The arrangement of figures guided by orthogonal lines through pictorial space adds to the three-dimensional appearance of the painting. Formal features such as perspective and rectilinear lines accentuate the three-dimensional appearance, versus curvilinear lines and organic patterns that deliver more depth. The overall composition, specifically focusing on how Christ is portrayed, shows a mastery of form and modeling, bringing the attention together and intensifying the sense of depth. The color palette used in the artwork is dominated by naturalistic hues and complements the composition. This reinforces the sensation of space and movement. In conclusion, Perugino's artwork is an excellent example of a distinct style attained by the masterful integration of methods, culminating in a harmonious representation of depth and realism.

Visual Expression

Focus on Nature in Background

Visual expression is meant to convey meaning and expression which can be translated into pattern, persuasion, and line definition. The use of curvilinear lines can be found in the mountains, organic tree branches, and clouds that lack harsh contour lines that hint at their existence on the canvas. Organic patterns are created with short, soft brushstrokes in the bushes and trees along with minimal highlights to keep focus on the foreground and use of color. Trees utilize elements of pictorial space by overlapping on the left of the third building, which is coincidentally where implied lines are alluded to in the chaos of shrubbery, mountains, and trees. In all, organic patterns and the use of lines to visually express nature help create the illusion of realistic textures and three-dimensionality.

Composition

The composition of Christ specifically, demands attention. Skills that are utilized when painting his figure are modeling, seen in the highlights and folds of his robe and left hand, the contrapposto of his body, curvilinear lines found in his hair and clothes, and diagonal lines in Christ's right arm that match the straight line of the key being passed down to St. Peter. Christ's arm, the key, to St. Peter's arm are echoing forms that help unify the central focus of the painting. Christ's composition is a masterpiece that creates the illusion of three-dimensionality through modeling and form. The painting's focal point is also excellently unified, allowing the viewer to see the depth of the artwork.

Formal Structures

Analyzing formal structure can be divided into two main parts. First, assessing the individual visual elements that create pictorial or structural communication. In this case, specific elements associated with this building are rectilinear lines versus the curvilinear lines of the trees and mountains in the background. This could also be identified as built forms. The second way to analyze formal structure is by looking at the overall arrangement and structure of the painting. Perspective (building is leaning in towards the right), and scale (building is smaller than the one in the center yet equal to the one on the far right) are two examples of this. Altogether, the illusions created as a result of rectilinear lines, perspective, and scale in the building is the feeling of three-dimensionality.

Contrapposto

Although this figure (one of Christ's apostles) was tagged as an example of "contrapposto" because of its significance in expressing skills and illusion, it is also a prime example of foreshortening and modeling. Contrapposto translates to "counterpoise" in Italian and is typically associated with "David" by Michelangelo because of how the figure leans his weight on one foot, allowing the shoulders and arms to twist at an axis. Perugino uses the same technique and because it is a fresco rather than a sculpture, he is able to induce modeling via the tip of the knee poking through folds of fabric, the knuckles, and the forehead. The right arm is foreshortened in the painting as well to help create the illusion of three-dimensionality and realism. This can also be noticed in the figure on the left of the painting, mirroring the apostle's pose.

Color

The naturalistic hues rather than vibrant color schemes set the tone of Perugino's "Christ Handing The Keys to Saint Peter." Primary colors are used to create variety with red, yellow, and blue. Complimentary colors are also utilized throughout the work. One example of this can be found in the blue and orange drapery adorned by St. Peter's versus another apostle being found in green and orange. Blue, green, and yellow are common colors employed to create the illusion of moving back in space. The viewer is forced to move their eyes from the foreground to the background due to the intrigue in color repetition.