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Extra resources for Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition)
The only linear detail added in the painting is straps on the legs of the left ﬁgure. The centered angel in the extension above adds lightness to the weight of the composition with the castle and ﬁgures below. A variety of ﬂuid, facile brushstrokes result in a luminous handling of the garment for the ﬁgure in the foreground, f. , End of the Plague (illus. ). The ‘painterly hand’ speaks with the paint and paintbrush and solidly renders surface, form and light. Gestures can be gentle, bearings of ﬁgures is solid, and painterly eﬀects can range from imaginative as in the image of heads burning, (illus.
With the ﬁgure in green that looks at the king but also seems to catch the viewer’s eye. The circular movement in the composition with the horses speaks of the ‘elegant hand,’ and the massive, solid castles suggest the ‘painterly hand’. . Folio , photomicrograph detail upper right, hard faced king (may be due to skin side). 48 margaret lawson . Folio , photomicrograph detail, softer faced king (may be due to skin side). . , photomicrograph detail of faces upper right edge where one almost seems to question us.
34 margaret lawson . Folio , photomicrograph detail of mid-bottom figure. ’ . Folio , photomicrograph detail of heads burning lower left. ’ the BELLES HEURES OF JEAN DE FRANCE, DUKE OF BERRY manuscript 35 . Folio , photomicrograph detail of distant landscape left of center. ’ f. , The Annunciation to the Shepherds. The ‘painterly hand’ has apparent ease and total control of the paint and paintbrush. Subjects are enhanced with glowing color and light and the landscape background view is fresh and light ﬁlled.
Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition) by Tara Forrest