Bacchus And Ariadne

Here, to create drama and depth, the warm hues of Aridness hair are contrasted against the white and pale blue of the sky in the background. Complimentary colors (inside Art’, 2014), the rich red and blue of her gown and sash are juxtaposition’s and contrasted against the pale colder greens and blues, which form the sea and landscape behind her, creating an aerial perspective (inside Art’, 2014). Her face, now turned to Bacchus, is tinged with uncertainty, yet still mourning, her body and up-raised hand gesture towards the sea. Over her left shoulder is the fleeing ship of err husband Theses, who has cruelly abandoned her.
However, above her head, the constellation Bacchus has promised her is a token of a happier future. Arid one’s gaze directs us to the central figure of the God of wine, who, instantly enthralled by her, is depicted leaping from his chariot. In this vivid rectangle of imagery, the viewer is reminded of the past, present and the future of the unfolding story. The classically posed figures of Ridden and Bacchus are created using identical modeling (inside Art’, 2014) techniques. Shading and glazing (Nationally, n. D. ) create the luminescence of their pale kin tone.
However, most striking is Bacchus’ flowing vermilion gown, which mimics the intensity of his passionate expression. To create such a dramatic depiction, Titian has employed a narrow tonal range (inside Art’, 2014) and shading to highlight the striking vermilion hues, which he then contrasts against the ultramarine of the sky. These dramatic effects project the God towards the viewer, thus extending the picture plane outwards. Other devices are incorporated to keep the eye moving through the composition. Between Bacchus and Ridden, two cheetahs mimic the central subjects as hey gaze at each other half cast in the shadow.

Below Aridness feet, a discarded white robe and amphora distract the gaze. Color is employed to drawn the eye away from the left of the picture space to the right, where three figures form a triangular focal point. Central to this is a nymph clashing cymbals together, her gown of complimentary hues of real and ultramarine are juxtaposition’s; to her left, the faun, dragging the decapitated head Of a deer, stares out mischievously through the picture plane, and the last of the trio is the shaded muscular figure entwined with rotting snakes.

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