Skip to main content

Uccello, 'Hunt in the Forest', c.1470

THE HUNT IN THE FOREST | Ashmolean Museum

My eye is immediately drawn to the vanishing point of the painting, because that is what the use of perspective here is designed to do. My eye follows the leaping hunting dogs into the rows of trees and beyond to where every figure is excitedly heading. Everything about this piece screams symmetry, from the way the trees are positioned to the depiction of the animals and humans. Uccello has even laid down tree stumps and branches on the ground to point the viewer in the direction of one point perspective. By using these foreshortened logs he is spelling it out to the viewer - here is the perfection of Renaissance painting. 

Although it may not be the most detailed painting in terms of the actual figures, everyone is at least doing something different. From the figures running into the trees to the men on horseback waving their arms to point the way for the viewer and the other hunters, this is a painting of movement and excitement. You can almost hear the cry of the dogs and calls of the men as they shout to one another for encouragement, firing the dogs into a frenzy in preparation for the meat they are about to catch. Furthermore, the viewer has a panoramic view of the forest, which not only involves them more fully within the painting but intrigues them as to what is occurring in the distance. Uccello has used a colour palette that goes from light to dark, meaning the viewer is being drawn into the darkness, making them ask questions about what is out there. Will this party be successful in their hunt? Or is this actually just a false alarm, and nothing will be caught at all? There is not just excitement in this painting, but there is intrigue. And this links back to the use of perspective. 

Uccello was a master of linear perspective, and this painting is a great example, linking closely with the design of the perhaps more famous The Battle of San Romano. There the viewer sees not logs but lances to mark the perspective. Equally in the painting above Uccello has created that grid-like pattern to show his talent as an artist. Although Uccello may have glorified the hunt somewhat here, it does not lack emotion and drama. But with the dark sky and rolling clouds coming in, perhaps Uccello is foreshadowing an unsuccessful hunt after all.  

Comments

Popular posts from this blog

John Everett Millais, 'Peace Concluded', 1856

  My eye is drawn to the copy of The Times clutched in the hands of the officer. The white of the figurine on the man's knee and the white of his wife's sleeves all serve to make the white paper stand out even more on the canvas. As the title of the painting suggests, this is about the end of the Crimean War, seemingly depicting a soldier who has just returned home, surrounded by his family, but the mood is perhaps less euphoric than you might expect. The soldier seems somber and weary, and his wife has a look of concern. Although on the surface it seems to be quite a harmonious composition representing a close knit and traditional family, the positioning of the man is odd. It is his wife who takes her place at the apex of the triangular composition, the soldier is reduced to an emasculated role, perhaps an invalid, as suggested by the blanket over his legs. Her face is passive, but not exactly positive. With her arms draped around her husband, she looks posed, dutiful but not...

Ernst Barlach, 'The Avenger', 1914

  On the advent of both the First World War and the artistic movement known as Futurism, Ersnt Barlach cast this work in bronze. The eye picks out an angular, horizontal form, a sense of hurried pace and strong facial features to this work by the German Expressionist artist. This piece is highly interesting when discussed in terms of the artist's oeuvre - Barlach entered the First World War with a clear attitude of patriotism. The sculpture reflects that, as the figure seemingly thrusts forward wielding a sizeable weapon above his head, leading the charge head on. Describing the sculpture as his 'raging Barbarian' it is clear that Barlach wanted to present an emotionally charged figure. Perhaps it is even a self portrait, with Barlach picturing himself as the hero. The artist did in fact serve briefly as an infantry officer. However realisation soon dawned and patriotism quickly dwindled. All of Barlach's sculptures from this point onward are influenced by the horror an...

Egon Schiele, 'Dead Mother', 1910

  My eye is drawn to the hand. Those long, bony fingers are so characteristic of Schiele but here they are particularly skeletal and deathly – the veins seem to have been injected with poison. And they are a warning right in the foreground of the painting that keeps the viewer at bay as an outsider to this incredibly intimate relationship between mother and child, and sets the tone of death and mortality which hangs over the whole image. The mother cradles her child in a womb-like shroud, alluding to childbirth and the death of the mother explained in the title. She seems desperate to feel that bodily connection with her child, highlighted by the emphasis on her craned neck as she tries to connect to the baby. There is a clear link between the mother’s bent neck and the child’s bent neck, again emphasising their longing to be with each other. However, the darkness around the child is almost like ropes, with flecks of white in the painting making it look as though the darkness is wo...