Analysis
of Picture Virginius Killing His Daughter Virginia of Pranciskus
Smuglevicius. (Part 1)
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In this article I try to open many-sided
regularities of artwork and will seek their interrelations. Such point
of view is close to semiotic standpoint -- to limit oneself only on researched
text, to dissociate from everything outward and to embrace research object
with respect to form and content. That is why this method was chosen for
the research. Semiotic text's description consists from such three levels:
discursive, narrative and logical semantic. In a wider sense text's research
can take place in syntactic, semantic and pragmatic levels. In the first
level (syntactic) inside regularities of formation of picture are studied,
in the second one (semantic) -- regularities of rendering of real world
in picture and in the third level of analysis (pragmatic) -- relations
between image and spectator are established. This structure of three
parts was developed by Ch.W.Morris and this methodology also is suggested
by B.Uspenski (Uspenski B.A., the foreword to L.Zhogin's book Language
of Work of Painting, Moscow, 1970, p. 4-31, in Russian)
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For such research I have choose the picture
of Lithuanian painter Pranciskus Smuglevicius (1745-1807)Virginius
Killing His Daughter Virginia though the picture is not completed.
In context of the twentieth and twenty first centuries non finished artwork
in the eighteenth century does not seen as duration, but often it is a
wealth for researcher of artistic technique. Besides that among heritage
of Smuglevicius painting in Lithuanian art museums Virginius Killing
His Daughter Virginia is probably the most expressive artwork. In addition
its content showed itself interesting enough.
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Analysis
of P.Smuglevicius Virginius Killing His Daughter Virginia at Syntactic
Level
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For research of compositional regularities
I used methods of measuring scales, geometric analysis and comparison.
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Analysis of straight
lines of the picture
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In earlier
my research it was ascertain that, if we pick up all straight lines
of picture into one point, we notice that a lot of them coincide. If we
do such procedure with straight lines of many art works of this same artist
or of a few artists working by this same canon, we notice that lines repeat
themselves from one picture to another and different lines' number is small.
For instance, Pheidias, Leonardo da Vinci, A.Rubliov, Rubens in their creative
work manage no more than with 14 different straight lines.
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Going from the right to the left beams
of directional star of Virginius Killing His Daughter
Virginia(Fig.
1) register on a protractor 0, 9, 40, 47, 64, 80,
90, 95,5, 106, 128, 144,5, 158, 172,5 180 angles with horizontal. Between
two neighboring beams there are these degrees: 9, 31, 7, 14, 16, 10, 5,5,
10,5, 22, 16,5, 13,5, 14,5, 7,5. After not complicated analysis of angles
(Fig.
2) it is possible to notice that to the nearest degree ten reiterate
itself. Relation 1:2 also is frequent. However, proportion of the golden
section figures accidentally and it is not characteristic. The directional
star produce an impression of harmonic figure. According to ascertainment
in my earlier research, if lines of picture brought together to one point
form symmetrical star, basis of picture is harmony, if asymmetrical, basis
is disharmony. By dominating of beams at the right or at the left, also
by their regularity of distribution we can grope art styles of two kinds:
with dominating the left side exciting tragical mood and with dominating
the right one that are more joyous. Beams of directional star of Virginius
Killing His Daughter Virginia are distributed almost evenly, only at
the left we notice not small empty space of 16,5°, at the right
- 31°. This angle disturbances fullness of the right side and is inside
reason of expression of disharmony and tragedy. Though not continuity of
the right side of the star of Smuglevicius, in comparison with not continuities
of J.-L.David, C.D.Friedrich or E.Munch's stars, is soft rather and it
less irritates eye of spectator. Six beams of the star are at the left
(of falling directions) and five ones at the right (of rising directions).
That shows that balance between falling and rising lines is held out.
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Thereby, distribution of beams of directional
star of Virginius Killing His Daughter Virginia
is backed up by proportional relations of whole numbers. Stronger regularity
of the left side of star than of the right one shows existence of disharmony
and tragic element.
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Analysis of proportions
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For subsequent geometric analysis of picture
I used proportional grids (combinations of geometric forms on that can
be drawn draft of artwork). In my earlier
research I established that in directional star of a picture, in
proportional grids, in coloring general rhythmical motif (tune) exists.
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Because directional star sets up general
rhythmical motif, it is rationally to form involute of the directional
star(Fig.
1)and to apply it as ground of proportional grid. Such asymmetrical
grid (let us call it
star grid) is laid on reproduction of picture
of Smuglevicius (Fig.
3). The first upper horizontal line marks off the lines of architecture
details; two which are lower shows the site of people on the rising ground
in the distance; the fourth horizontal proceeds through the tops of crowd
heads. This last line evidently is structural (about structural
grids) and it differs in 0,02382 part of height of picture from
line of the golden section which goes through the middle of the heads.
The fifth, the sixth, the seventh horizontal lines limit lifted hands and
the heads of stooped people, the eighth line -- the heads of the fallen
down and gone down human figures at the right side. The ninth line marks
off the man's knees, the waists of people at the left and at the right
edges, Virginia's hand and breast. Two lower lines mark off the foots,
the lowest line touches the edge of clothes of Virginia and bottom of foots
of the fallen girl. The verticals chiefly mark off axes of figures. One
from the verticals touching the left edge of the building, hanging down
the thumb of Virginia and the hand of the stooped old woman evidently is
a line of structural proportional grid. Such grid of proportions enriched
with the symmetric (Fig.
7)connects the architecture and the human figures still stronger.
However, such grid is general, slow and for further reducing to smaller
units it is not possible. Hereby star grid must be still enriched with
structural grids which are more flexible and which lines coincident with
structural lines of picture or touch them. Structural grid is constructed
starting from the most important picture's detail, which by principle of
symmetry is connected with every other detail of picture. My earlier research
shows that structural grids coordination is a criterion of stylish picture
and parts' coherence (about
coherence). Thus in Fig.
6 we have compound grid consisting of star grid and of three structural
grids constructed by initial lines marked with the letters B (blue), G
(green) and Y (yellow). What can we notice? Blue structural grid by line
B which coincide with the horizontal of star grid that goes through crowd
heads, so this grid has lines in twos that almost coicide with other lines
of star grid. Similarly with green and yellow grids. I do not take to assert,
does not full coincidence is through error, because the angles of star
grid for its involute were taken to the nearest half degree, or not full
coincidence is regular, however, clear tendency towards coordination structural
grids with star grid and interrelation between themselves. Following conclusion
of logic goes from this: if structural grids constructed by lines of star
grid are coordinated, details of such grid are entirely coherent and corresponding
to general rhythmical motif -- coordinated grids connect details more elasticity
than separate ones.
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In that way structural
grids of the picture of P.Smuglevicius are close to coordinated grids and
show that picture is coherent and stylish. Not absolute coordination can
be explained through not completion of the picture.
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Analysis of coloring
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After collecting of three color characteristics
of all different color dabs and after formation of color star, I established
that color star's rhythmical motif is similar to rhythmical motif of directional
star. Thus the first beam of directional star (Fig.
4) corresponds to the 127th beam of color star; the second to the
group of beams from the 159th to the 163th; the third to the third; the
forth to the ninth, the fifth to the 13th until the 15th; the sixth to
the 21st; the seventh to the 24th; the eighth to the beams group from the
30th to the 33th; the ninth to the 55th; the tenth to the 62nd; the 11th
to 68th; the12th to 76th; the 13th to the group from the 86th to the 88th;
the 14th to the 98th; the 15th to the 127th again. In that way the 127th
beam of color star transform itself into the first and the 15th beams of
directional star, that cover 146° or the group of beams marked 15,
16, …, 24, 0, 1. In the area of 360° the beams of color star correspond
to 214° area in directional star. 214° is near to 222,48°,
that mark division of 360° at proportion of the golden section. It
is interesting to notice that the 127th beam of color star, which transformed
itself into directional star's area of 146°, corresponds to purple
color, that does not exist in spectrum. On the other hand, in the area
of 146° this same rotated mirror like configuration of beams is among
beams marked by 2, 3, …, 14. We can say that this same motif in directional
star repeats itself twice. In the area of 214° from the first
to the 15th beams and in the second time in the area of 214° from the
14th to the second beams. Both these transformations recover one another
in the angles from the first to the second and from the 14th to the 15th
beams.
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In very similar way things are with the
involutes of color values and intensities. It is more convenient to compare
with involute of structural grid (Fig.
1). After throwing off the empty edges of the involutes of values
and intensities, we can perceive a bit similar rhythmical motifs to one
of involute of structural grid. Estrangement from standard rthytm can be
explained through not completion of the picture. A lot of dabs have
no final semblance as the author conceived.
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Analysis of proportions
of areas of different color dabs
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After counting areas of different color
dabs in Smuglevicius's picture Virginius Killing
His Daughter Virginia I found that bright colors take up 27,1%,
dark -- 15,34%, of medium darkness -- 57,55%, rich colors -- 9,82%, not
rich -- 90,18%, hold colors -- 9,54%, warm -- 20,1% and of medium temperature
-- 70,36% of all area of the picture. After I formed color dabs areas schemes
of proportions (Fig.
5). If according to my earlier research of other pictures of the
painter schemes of values and temperature are very similar one to other,
we can not say it about schemes of
Virginius Killing
His Daughter Virginia. Cause of that is not completion of the picture.
Some parts of naked body remained white and not modeled. Warm last coats
had still to change appearance of the picture. Areas of medium darkness
had to become larger, and areas of cold, bright and dark colors had to
become smaller. But it would be approach to schemes of completed pictures
of Smuglevicius distinguishing by regularity.
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Research of the lines
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Lines' lengths and widths relations, also
relations of different lines sizes are connected with general theory of
proportions (proportional
grids). Lines and dabs are the same details of picture as separated
figures or their parts, and these same regularities are in force. However,
on the other hand, a line of concrete art style is characteristic only
for this style, even if it can be drawn into this same proportional grid
in this same manner as lines of other styles. From the standpoint of stylish
lines Virginius Killing His Daughter Virginia
is eclectic. It splits as though into two parts -- completed view in the
distance and not completed foreground. Therefore it needs to research lines
of most completed figures and lines of least done figures. Therefore I
chose two details dissimilar from the standpoint of stylistics -- the clothes
of the green man and the yellow cloak of the nearest man with holding out
hands. The green man can be ascribed to expressionistic direction, in the
yellow cloak we notice medley of classicism and romanticism. The green
expresses only reference to material, the yellow is illusory image of material.
In the green the lines are only black, marking shades of pleats, in the
yellow cloak the lines are also deep reddish and yellow marking as shades,
as lighted parts. The lines of the green material are straight strokes
of the brush, the lines of the yellow cloak are drawn using many strokes.
This is the reason that change of thickness of lines in the green is less
than in the yellow.
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Smuglevicius uses broken and crooked lines
with temperance. Intersected straight strict lines of the buildings are
soften hardly to disappearance. In figures through aspiration to naturalism
crooked lines come directly to broken ones. In short crooked lines give
themselves closer to broken ones, broken lines to crooked.
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Though the picture has tragic plot, optimistic
lines rising like flowers in a bunch are characteristic for the picture.
Energetic motions of figures help for such rising too. Even hard dead girl's
body does not look hopelessly fallen down, but gracefully stretched out
hands like wings as if for flying.
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Thereby Virginius
Killing His Daughter Virginia pictorially with respect to line
is an eclectic artwork. Variable lines' thickness, their variety by size
and forms are characteristic. Through rising lines mood of the picture
is optimistic.
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Symmetry and balance
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In the picture mirror symmetry is evident
though it is not exact. We can separate symmetry with respect to form --
building at the left is balanced by building at the right. Thrown up Virginia's
hands like by echo are repeated in configuration of the man who comes running
from the right and in the legs of surrounding figures. From the standpoint
of color (scheme
of colors of the picture), rich blue and yellow clothes' spots are
repeated on the left and on the right. Black color of the cloak of bent
old woman symmetrically repeated in figure of the man with face covered
by palms. The black haired runner with the yellow cloak corresponds to
the red-faced curly man on the other side. Three red spots are located
sooner by law of balance: Virginius's coat a bit to the left from center
of the picture and not large spot of the red gown of the woman with the
kid on the left side balance the spot of black haired man's cloak nearer
center. Though such disposition can be called inexact symmetric. Configuration
of yellow of Virginia is similar to mirror like reflection of configuration
of yellow smoke. Yellow of the runner is rotated 120° configuration
of the smoke. In that same relation is combination of the yellow and the
blue in figures of the girls repeated by smoke and sky, by the runner and
by the deep blue viewers's configurations. From the standpoint of gestures
combined with symmetry of rotation, the bright woman at the left and the
black man with his palms on the face; the hands of the pointed warriors.
Combination of symmetries of rotation and mirror is seen in figures of
Virginius and of the man in white behind the man with knife -- they both
throwing out forward different legs. Symmetry of transmission is noticed
in reiteration of similar faces of crowd.
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Though the runner is more mobile and more
related with figure of the man with knife, but the runner and the dead
girl are in the same distances from the middle vertical line as plates
of scales. They both form picture's main points of strain -- the man with
knife in the middle as if their mediator. Thus the figures of foreground
put according to scheme of scales with outweigh of dead girl's side. For
balance dwarfs' figures with heavy blue hung up at the right lower corner.
That is why balance is complicated.
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Hereby Virginius
Killing His Daughter Virginia is balanced. All three kinds of
symmetry are intertwined.
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Closed and open composition
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Closed composition can be understandable
from two aspects: outward and inside. In the first case groups of figures
drawn into some closed form (circle, triangle), they are put together so
that every of them fit in space of picture, any figure does not go out,
all personages look at the action in the inside of picture, the lines of
picture do not lead out glance of viewer. Close composition from inside
aspect is independent from disposition of forms and lines of picture --
something not defined and hidden is in essence of forms themselves, of
their ontology, of warmth of expression. Excellent instance of this case
is O.Renoir's pictures -- some intimacy, reticence, warmth are characteristic
even if the author cuts off figures at the edges of pictures. On the contrary
creative works of Michelangelo have some indefinite sensation of endless.
His personages as if judge not small problems, but like gods they feel
themselves responsible for the world and the universe, space of artwork
is too small for their thoughts.
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From the first aspect Virginius
Killing His Daughter Virginia is closed composition: the buildings
standing symmetrically close top of the composition from the sides, Virginia
and her girls friends' figures close composition from the lower left corner,
the runner and the children or dwarfs close from the right, all personages
are concentrated to the action of picture.
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For examination of the second aspect I
took grid of directional star's involute for Virginius
Killing His Daughter Virginia and stretched it by height to
square. If picture is entirely closed, new horizontals must not touch details
of picture, because these horizontals are accidental for picture. If composition
is open, must touch, because the grid transformed itself to the simplest
and nearest form square which has side coincided with longer side of picture.
It needs to certify fact that details of Smuglevicius's picture can be
drawn into stretched grid not worse than into standard. That is why picture's
composition is closed from outward aspect and it is open from inside aspect.
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Modeling. Textures
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For creation of naturalistic effect modeling
of the picture is different. Both transversal (the hand and pleats of clothes
of old woman) and longitudinal lines (free hanging fabrics blowing by wind)
are used for drawing. Like all classicists Smuglevicius does not use textures.
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Harmoniousness
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According to V.Ganzen, P.Kudin and B.Lomov
five characteristics of every harmonious composition are repetition of
the whole in parts of artwork, subordination, proportionality, balance,
and unity of details (V.Ganzen, P.Kudin and B.Lomov, About Harmony in
Composition, in the journal Technical Aesthetics, 1969, Nr.
4, p. 1-3). How do these characteristics manifest themselves in Virginius
Killing His Daughter Virginia?
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1. Repetition of the whole in parts
of artwork. The picture compositional scheme has the form of the letter
"L" (court palace at the left and crowd of people). The scheme is accompanied
by zigzag line which
like lightning crashed from justice palace twice. For the first time at
the dead girl, for the second to the runner man in the yellow cloak. The
lightning zigzag repeats itself in the obelisk, the man in center with
knife and the runner's common configuration. The third repetition of scheme
is seen on the court rise. The fourth time in configuration of the group
of dead girl, of the three girls and the old woman. The upper part of the
picture over the crowd, the body of Virginia, the pointing hands also form
letters "L". Hereby the first condition of harmony -- repetition of the
whole in parts of artwork -- in Virginius Killing
His Daughter Virginia exists.
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2. Subordination. The figures of
central man and of the runners forms trapezium. Its prolonged sides marked
by the red cloaks intersect themselves on the frame line. Such pyramid
unites the figures and still more increases their power. Base of picture
is conflict of three sides. Between them dominating figure of the man with
the knife emphasized by its site in the center of picture, by rich red
cloak's spots and by its energetic movement. Grayer as figures of foreground
crows of people passive, its purpose is only to help for viewer to see
main heroes -- two people even point to them. Distant space with court
plays still less role. There are still grayer and more indefinite. Hereby
hierarchy is such: 1. Man's figure with knife; 2. The group of the dead
girl and the runner; 3. Crowd of people; 4. Court; 5. The buildings. Though
the runner is more mobile and more related with the central man's figure,
however, he is distant at this same space from the central man as the dead
girl, like scales plates, both the girl and the runner are the main points
of strain. The man with the knife is their mediator. Body of the girl gets
exceptional meaning through its horizontality and through non liveliness
among living being. That is why the dead girl and the runner found themselves
on this same hierarchy step.
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3. Proportionality is researched
earlier. Its generalization can be such: many different style classemes
have similar rthytmical motifs, but through not completion
of the picture in some classemes (color dabs areas) are imperfect elements.
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4. According to foregoing research we can
state that the picture is balanced.
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5. Unity of details. All four principles
are in close relation. They have common aspiration -- to create compositional
unity. Hereby the fifth principle as if generalizes the earlier four ones.
In accordance with my earlier research I am returning to proportional grids
and general rthytmical motive. Constructed by lines of directional star
grid, structural grids are close to coordinated ones. From this aspect
details of the picture are united. Through not completion
the picture is eclectic and from some aspects harmoniousness is broken.
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The left side of directional star is more
regular than the right one, that is why elements of disharmony and of tragedy
exist.
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Another element of disharmony in the picture
is depiction of terror and abomination.
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Generalization The
picture has tendency to harmony, but through non regular enough of the
right side of the directional star it has signs of disharmony. Not completion
of the picture gives rise to inadequacy between rthytmical motifs of directional
star and of other classemes. That all together with depiction of terror
still strengthen impression of disharmony. Hereby in
syntactic level analysis of picture Virginius
Killing His Daughter Virginia of P.Smuglevicius is completed. (Go
to part 2)
which
like lightning crashed from justice palace twice. For the first time at
the dead girl, for the second to the runner man in the yellow cloak. The
lightning zigzag repeats itself in the obelisk, the man in center with
knife and the runner's common configuration. The third repetition of scheme
is seen on the court rise. The fourth time in configuration of the group
of dead girl, of the three girls and the old woman. The upper part of the
picture over the crowd, the body of Virginia, the pointing hands also form
letters "L". Hereby the first condition of harmony -- repetition of the
whole in parts of artwork -- in Virginius Killing
His Daughter Virginia exists.
