[David & Neoclassicists] arranged their figures as a frieze across the pic- ture plane and accentuated that plane by [...] through the use of such devices as a solid wall, a back area of neutral color, or an impenetrable shadow. The result, as seen in The Oath of the Horatii, is an effect of fig- ures composed along a narrow stage behind a proscenium, figures that exist in space more by the illusion of sculptural modeling than by their location within a pictorial space that has been constructed according to principles of perspective.
Answer
closing off picto- rial depth
Question
[David & Neoclassicists] arranged their figures as a frieze across the pic- ture plane and accentuated that plane by [...] through the use of such devices as a solid wall, a back area of neutral color, or an impenetrable shadow. The result, as seen in The Oath of the Horatii, is an effect of fig- ures composed along a narrow stage behind a proscenium, figures that exist in space more by the illusion of sculptural modeling than by their location within a pictorial space that has been constructed according to principles of perspective.
Answer
?
Question
[David & Neoclassicists] arranged their figures as a frieze across the pic- ture plane and accentuated that plane by [...] through the use of such devices as a solid wall, a back area of neutral color, or an impenetrable shadow. The result, as seen in The Oath of the Horatii, is an effect of fig- ures composed along a narrow stage behind a proscenium, figures that exist in space more by the illusion of sculptural modeling than by their location within a pictorial space that has been constructed according to principles of perspective.
Answer
closing off picto- rial depth
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Open it [David & Neoclassicists] arranged their figures as a frieze across the pic- ture plane and accentuated that plane by closing off picto- rial depth through the use of such devices as a solid wall, a back area of neutral color, or an impenetrable shadow. The result, as seen in The Oath of the Horatii, is an effect of fig- ures compo
Original toplevel document (pdf)
owner: mmartin046 - (no access) - H. H. Arnason, Elizabeth C. Mansfield-History of Modern Art-Pearson (2012).pdf, p24
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