Formal Analysis

Théodore Géricault

The Raft of the Medusa

1819

http://upload.wikimedia.org/wikipedia/commons/1/12/Raft_of_the_Me dusa.jpg

Michelangelo

Pietà

1499

http://classconnection.s3.amazonaws.com/786/flashcards/1136786/p ng/pieta-1400F9857223FFCA63F.png

Creator: Can't Find Online

St. Cornelius Church

1964-1965

https://i0.wp.com/farm4.staticflickr.com/3800/10052748476_4c40f00f a0_z.jpg

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3d Object: Pietà by Michelangelo

Formal Analysis

The first thing I noticed about this three dimensional object is the

consistency in material. It appears to be crafted from a light colored stone, probably marble. This medium carries throughout the entire object, although in some places it seems lighter than in others. Although the artist had to chisel this from a large block, it would not be evident to the uneducated eye. The marble is used to create a quite delicate and complex composition, and this is evident in the multiple textures the material is utilized to create. While there are some very smooth surfaces throughout this sculpture, much of it is quite textured, especially in places where the artist has recreated the intricacies of fabric and drapery. In this way, the object appears to be both light and heavy in its weight, and the way the light hits it creates varying values in many highlights and shadows.

The marble is used to create two human figures: one female and the other male. These figures have incredibly soft looking skin and features, giving their complexions a uniquely surreal and impeccable quality. Similarly, the positioning of the bodies of the two figures seem to be extremely natural and realistic, in the delicate limpness of their forms and the way they interact. In fact, the two human forms are almost one unit in this sculpture.The manner in which the male figure is draped heavily over the female figure’s lap suggests a oneness of the forms, accentuating the object’s craftsmanship. It can also be noted that the two figures both appear quite youthful. However, although highly naturalistic, this sculpture also contains some discrepancies in scale. The male figure appears to be much smaller than the female one, like if they were to stand up straight the female figure would tower over the male one. In this way the male figure appears to be shrunken upon the female’s lap, as if more child than man.

With an object of this nature, it is necessary to go even further in the analysis of the human forms, because they dominate its content. Firstly, the male figure appears to be dead. This is not only evident due to the limpness of the form as mentioned earlier, but his head hangs in a slightly grotesque way, turned away from the viewer. The lack of access to his face suggests his presence just as a body and not as a person. The female form, on the other hand, sits relatively upright, bending the upper half of her body over the more lifeless for

below her. This position, paired with the softly mournful expression upon her face, generally communicate an image of sadness for the viewer. Together the two human forms, though physically close enough to be as one, seem to demonstrate two very different human expressions: lifeless in death, and sorrowful in life.

Interestingly, the reason the poses of the human forms are so important to this object is that they contribute directly to the general compositional qualities of the piece. The male form’s horizontal orientation at the bottom of the sculpture, paired with the more vertical female figure at the top create a triangular shape together. The outstretched arms of the female figure aid in accentuating this pyramidal composition. In fact, this type of arrangement is used frequently in art history, and is understood as being visually appealing to the viewer’s mind. The artist’s choice in using this type of composition, whether intentional or not, contributes a sense of balance to the piece. Considering the size of this object, about 5' 9" x 6' 5”, this dynamic yet simple composition would have full effect upon the average viewer, being a bit larger than life size. -Thomas Monforti, “Studies in Sorrow”