Denisse Zamora

Color

Uccello overwhelmingly uses muted natural tones. This being said, he accents the work with vibrant reds. In this case, Niccolo's red cloak and headpiece juxtapose the deep earth tones of the landscape and most figures. Although a few other figures sport this loud red color, Niccolo is at the forefront of the painting, suggesting his leadership in the battle. Often red is seen as a symbol of valor, adding to the implied bravery and admirable leadership of Niccolo. Not only do the brighter colors show social or military status, but more practically, they allow for figures not to be lost in the landscape (this enhances the overall three-dimensionality on a two-dimensional surface). The soldiers' armor is a different story, though. While detailing is added to the "metal" making it look more realistic, the still muted colors draw the viewer's eye away and potentially up to the figures in the foreground who wear brighter colors.

Tempera painting

In "The Battle of San Romano," Paolo Uccello uses tempera on wood, which greatly influences the impact of the work. Tempera involves mixing egg yolk with pigment, this is a fast-drying technique which requires the artist to work quickly. Since Uccello had to work quickly, he had to plan his brush strokes more strategically, evident in the almost stiff feeling of the work. Compared to oil paintings, tempera dries matte, making the figures depicted more defined and again more rigid looking. Although tempera can accomplish vibrant colors, it is incredibly difficult to achieve much blending, making the composition look rather flat. While tempera painting had its share of downfalls, it did allow for fine lines which Uccello took advantage of when making the soldiers' armor and certain facial expressions.

Foreshortening

Foreshortening is a technique in which figures look as if they are receding back into space, this adds to their three-dimensionality (this is done by altering the length of features of the figures that point towards the viewer). Uccello implements this technique quite a bit with the soldiers, whichever part of their body is facing the viewer appears shorter, creating a greater sense of depth. The same is done with their weapons, apart from a sense of depth, they also look as if coming out of the work and into our space, instilling an alarmed feeling in the viewer. The further figures are meant to be seen, the more compressed they are portrayed, making a coherent spatial plane with a clear distinction and transition between foreground and background. This technique not only makes the work look more realistic, but it makes the viewer feel involved, as if witnessing the battle in real time.

Line

Uccello uses curved lines to portray movement within the painting. The most obvious of which is in the flag raised by Niccolo's troops, this flowy and soft form juxtaposes the rigid and stiff armor and weapons of the soldiers. Uccello also uses diagonal lines in a more practical manner; to draw the viewer's eye across the panel. These diagonal lines do not point in the same direction all across, creating a chaotic feeling associated with battle. This chaos would usually make it hard for the viewer to distinguish the figures active in the skirmish but due to Uccello's use of strong outlining, they are easily picked out in the crowd. Many of the diagonal lines in the background and scattered in the foreground seem to point the viewer's eye towards the key figure being Niccolo da Tolentino.

Perspective

In this work, the viewer feels as though they themselves are taking part in the skirmish at San Romano. The previously mentioned foreshortening instills the feeling that figures are closer (or further) and that weapons are aimed at the viewer. This transforms the work from a story to a sort of first person experience. The viewer can not only see a recreation of the event, but they can feel that sense of chaos and urgency that comes with war. The use of such a defined background also adds a bit of depth, not just visually, but logistically. Without it, the battle would seem much more enclosed, but after seeing figures far in the background also engaging in the battle, the scale of the event is evident. Uccello also makes sure the viewer does not need the title to know who the key figures are, although identifying Niccolo's identity could prove difficult, having him in the middle directly in front of the viewer showcases his heroism and importance.

Summary

Paolo Uccello's "Battle of San Romano" makes great strides at inducing a sense of urgency and chaos in the viewer through the use of clear perspective, strategic lines, foreshortening, and the careful use of color. This was made possible through the use of tempera painting techniques. Uccello is able to achieve this by deliberately making the illusion of being a part of the painting. This makes the viewer uncomfortable, tense, and alarmed, some of the feelings military men would have experienced while at San Romano. Although Uccello's choice of painting technique had it's drawbacks, he was able to use them to his advantage. The flat and rigid feeling of the work added to the strategic and deliberate feeling of Niccolo's leadership at San Romano.