1. Art and Poetry
    January 18, 2009 @ 6:52 pm

    It is a lovely painting!


  2. Skott Klebe
    January 18, 2009 @ 10:25 pm

    The figs, in particular, are beautiful.
    Perhaps it’s only the digital reproduction, but I’m confused by the perspective on the knife. At first I found that it drew me in close to the painting, since I’m looking almost down on it, while my eyes are nearly level to the tops of the little and big barrels that aren’t that much higher. However, I feel I ought to have the same perspective on the bottom layer of figs, and I don’t – I’m looking almost straight at the front plane.
    OK, I think I’ve isolated it, now. It’s the handle of the knife screwing me up. If I block the handle, I see the knife and figs low and the barrel-tops level, and it has the beautiful drawing-in effect I mentioned above. The flat stained base of the knife hilt, on the other hand, looks almost parallel to the plane of the painting. If I cover that circular black textured area, the rest of the knife looks fine.


  3. Jeff Hayes
    January 20, 2009 @ 4:13 am

    Absolutely, Nick!


  4. Jeff Hayes
    January 20, 2009 @ 4:33 am

    Hey Skott – interesting. I *think* I see what you’re saying; it’s as though the handle of the knife is bent upwards relative to the plane of the blade?

    I think this impression might be further exaggeraged because we see the full width of the end of the handle. However, since the end of the handle overhangs the ledge, it’s not elevating the knife as much as if the entire object rested on the flat surface. (IF I understood you right – you can explain it to me over next lunch)

    Two other things that could also be subtly influencing the perception of the perspective would be the scale of the painting, and the height at which it was intented to be hung; neither of which I know offhand.

    To me the knife handle serves an interesting compositional function. From top to bottom we see a progression of circles, starting with the edge-on view of the end of the churn handle, moving downwards through the top of the barrel, etc. The nearly full circle of the handle emphasizes the end of that progression. It also breaks out of the plane the other objects rest on, to further that effect.


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