Assignment 5 Vlad Alexandru Facultatea de Teatru i TV CFM-RO An III Part one of the assignment:

(Sistine Chapel - Pietro Perugino)

Peruginos painting manages to highlight the true color of perspective and depth of the visual field, which is structured on three main levels. On the first level we can notice the mixture of painted bodies in counter plane, a pattern to be repeated on the second and third level to produce the idea of symmetry. Even on the first level one can notice a very fine built

bidimensional overlap of the bodies, outstanding with ample spaces, well managed regarding chromatics and composition. The depth of the visual field is also maintained by the horizontal lines situated in the midst of the painting, lines which are fading by following the fictional track curve of the spacing on the three levels. On the second level, we can see the transcendental dynamics of the human bodies nabbed into a paradox of the kinetic energy; the unbalanced forms are guiding our attention towards the plane they are building. Used to recognising the patterns and dynamics in contrast with the static spaces and compositions, burnished into the eternity of evolution, we can easily make the leap between the two main levels. The concept of depth made with such artistry is materializing under the shape of negative- positive, achieved not only through dynamics but also through the chromatic contrast. On the third level we can see the background built from static lines and spacial atrophied shapes. Under the same key of symmetry the buildings, the trees, the clouds are alligning by the proportions regarding the creation of the work of art. In the same chromatic key, the background zone receives the fundamental aspect of the visual representation. Thus, the painting I chose is built in an ingenious spacial way, while using a profound visual grammar, almost lyrical, which is defining us empirically, filosophically, aesthetically, culturally and socially the principles of the spacial transcendency.

Part two of my assignment:

( Natural stage - Alexandru Vlad )

Part two: I built this image in two visual planes, focusing on the relation and dynamics between them. In the first plane there are the two spotlights which are generating the illusion of scenic light, and in the second plane, built from the outline of the car which is in contre-jour, the basic perception is being altered. Thus, the depth oft he visual field is given by the cognitive capacity of associating visual symbols, regardless of the fact that their representation is formal or not. The systemic ensemble of handled shapes and colors is outlining the relation between the two planes. I also desired to underline a balance between the static shapes, compounding the two planes, and the diffuse and abstract space, which is making the transition between them.

Conclusively, the concept of negative-positive, as well as the transition from real to abstract through the mentioned visual means are representing the stylistics I wanted to follow throughout the composition.