![]() ![]() Line that forms the slope of her right shoulderĬorresponds to the diagonal line of her forearm, and the diagonal That has the same kind of volume as her own head and that of the child. Her fingertips together, defining an internal space, Volume in between the hands of the Virgin Mary, who holds Tilt to the Virgin Mary's head, which corresponds to the angle Way in which the artist has composed the bodies of the figures. Another way weĬan talk about composition, is to think about the On one side by trees, and on the other sideīy the vertical forms of the architecture. You see a band in theįoreground of greenery, then there's a band of pebbles, then there's a band of tilled farmland, and even the clouds create Pyramidal foreground, in front of a series of whatĪre really horizontal bands, that move back into space. Significant amount of landscape that surrounds her, that, Towers over the horizon line, and is clearly the primary subject. Has placed her very close to the foreground, so that she So there is an intimacy that is created between the female figure and the child. We also notice that theĬhild in her lap is contained within the pyramidal shape of her body. Wearing, the drapery spreads out across the bottom length of the painting. Not only does she fillĪ third of the frame, but the clothing that she's We see a female figure who's smaller than life size. To a very small painting, we tend to come in very close, ![]() Of a very large painting, you tend to stand back, This is a moderately sized painting, and that changes where we stand in relationship to the painting. Well, we're inĪ gallery with paintings of all different sizes, thereĪre very large altar pieces, and there are some very The scale of the painting, and the scale of the figures, and what we see in the painting. So we're gonna talkĪbout scale, composition, pictorial space, form, line, color, light, tone, texture, and pattern. Talk about the political, social, or economic context in We're not gonna talk about the commission or who the patron was. Symbolism that we might see in some of the animals in the background. With the history of paintings of the Madonna and Child. We're not gonna talk about iconography, how this painting fits in But we wanted to talk about it, as a vehicle to highlight And Mungiu draws particularly rich portraits of communal life in the village, whether it’s at a lively Christmas pageant featuring adorably costumed children or an atavistic parade of grown-ups dressed as the bears that lurk at the outer edges of their town.National Gallery in London, standing in front of Giovanni Bellini's the Madonna of the Meadow. We see Csilla, at night, shedding her practical persona to drink wine in her attractively appointed cottage while practicing the cello. In a series of carefully observed and often beautifully staged and choreographed encounters, Mungiu delves into the daily rituals that define his characters both as individuals and as a collective. No villagers have answered Csilla’s ads, so she hires two laborers from Sri Lanka, a move that will eventually send the village into a tailspin of xenophobia, ethnic chauvinism and selective historical amnesia: The title of “R.M.N.” refers to “nuclear magnetic resonance,” or what Americans would call an MRI in the film, Matthias’s father undergoes the procedure to diagnose a brain disorder, but Mungiu clearly intends for the surrounding story to be a microscopic investigation of the pathologies infecting his countrymen - not to mention the rest of the world. Meanwhile, Matthias’s former lover Csilla (Judith State), who manages a bakery, is trying to find enough workers to qualify for a badly needed grant from the European Union. He’s greeted with chilly indifference by his wife, Ana (Macrina Barladeanu), who has been concerned about the couple’s 8-year-old son, Rudi (Mark Edward Blenyesi), who saw something in the woods that frightened him so much he stopped speaking. As the movie opens, a butcher named Matthias (Marin Grigore) is working at a German slaughterhouse, where he head-butts a manager after being called a “lazy Gypsy.” Matthias heads back to his hometown in Romania, where environmental concerns have closed the local mine, forcing most of his peers to seek employment elsewhere. But most of the monsters in “R.M.N.” are unseen, and the most vampiric force abroad in the land is that of global capitalism at its most pitilessly rational. ![]() The village in question is a tightknit community in Transylvania, best known as the home of Dracula. ![]()
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