The Savior not made by hands 1800

Editor: This tempera painting, "The Savior Not Made by Hands," dates back to 1800. The subject matter appears centrally focused, but the canvas seems distressed with time. How might we interpret its visual construction? Curator: Indeed. We should first note the iconographic style. Observe how the artist has meticulously constructed the face, prioritizing symmetry and a direct gaze. Consider the relationship between the face and the surrounding geometric forms and the interplay between the subtle earth tones and the burnished gold. Is the expressiveness achieved through colour harmony or the contrast between precise lines and a sense of damage that perhaps symbolizes time itself? Editor: The halo and the almost theatrical curtains draw the eye, almost creating a stage for the figure. Do the visible damages of the artwork also inform our reading of it? Curator: The artist has used line and colour to denote spirituality. The halo's golden background flattens the space, suggesting a divine presence extending beyond earthly bounds. The curtains are architectural elements to symbolize the threshold between heaven and earth. However, our focus ought to remain on what is present, rather than on its potential historicity. The materiality, the composition – that is the language of the artwork. What is articulated by the painting as it survives in front of our eyes? Editor: I see now. By focusing on the artist's strategic employment of colour and geometric forms, we’re able to reveal the deeper symbolic essence of this iconic piece. Thanks! Curator: Precisely. Viewing through the formal elements allows us a focused approach.