short example

Finally after all this time I think we can start to talk about artist’s intent. Color, shape, and object placement can convey a certain something, however light, as Arnheim points out, is one of the most active informational sources in our life, Light is easily taken for granted in our day to day existence, as we perceive it to be everywhere and when it is not or in limited supply with see not the absence of it but another incarnation of seeing. By using this information artists can manipulate most effectively the gaze and attention of the viewer.

While in the Uffizi this break I came across a Parmigianino I have always admired “Madonna With the Long Neck”. My particular attraction to it stems from Modigilani who I was exposed to at a young age citing a similarity in the long necks of his female subjects and my long neck ( I think my dad was trying to make me feel normal, which I did, so the whole mission was a little weird).



Parmigianino uses a very basic light source from the top right to selectively highlight in order of religious importance: the Christ child, the Madonna, and then the on-lookers and background information. The child’s bright pale body is seen as brighter because it lacks intense detailing as opposed to the Madonna’s clothing, which is highly textured revealing the form of her body. In this instance Parmigianino uses the light’s interaction with the fabric to create and human form beneath her holy garb, but also to keep the viewer interested in her figure, as it seems that the theme of this painting is merely a vehicle for his interpretation of Madonna. The light that falls of her breast brings the viewers eye back to her extremely long fingers and then to her neck, both so elegant that one almost forgets that Christ is glowing happily in her lap. The light, however, does not land with any particular brightness on her face- instead in seems to pool on her chest and lap. This creates a circular focus of light, the heaviest part of the pool is with out a doubt Christ but his luminance brings the viewer back around again and again to Parmigianino’s realization of the Madonna. His use of light to focus the viewer on his technique seems to be a play on the his general style which is one of manipulated fancy, sometimes with light, sometimes with shape, and sometimes, with view point.