Archangel Michael, slaying the Shakers 1650

Editor: Here we have "Archangel Michael, slaying the Shakers," a tempera painting from 1650. The figures seem rather flattened, and the composition is so packed with different scenes. How do we even begin to unpack the visual elements in this piece? Curator: Let's begin with the surface. Note the material properties of tempera paint. How does its opacity and quick-drying nature affect the texture and layering we observe? Editor: I see! The tempera looks quite matte and allows for distinct, almost graphic-like depictions of the figures, with clear outlines and limited blending. Curator: Precisely. Observe how this flatness emphasizes the two-dimensionality of the picture plane. Consider the hierarchical scale at play. Where does your eye go first? Editor: Probably to Archangel Michael on the right, given the size and the implied diagonal of the spear. Then maybe up to that circular form above, the heavens, and the pale Shakers, which really brings out the color differences and choices here, now that I think of it. Curator: And what do you make of the Shakers in contrast with Michael's figure and position in relation to the divine light, from a purely formal perspective? Editor: Well, they are positioned lower, near the dark, left-hand corner. Their pale coloring creates a stark visual contrast against that darkness. It creates a sense of being trapped or suppressed. It creates an inverted pyramid visual tension when you go to his face, looking down from heaven... I see it! Curator: Excellent. This tension is carefully constructed using the limited color palette, shape, and spatial organization of the composition, which underscores the thematic focus. It is fascinating to observe how those elements work together to guide the eye and reinforce specific themes, isn't it? Editor: It really is. It’s much more than just the depiction; the form carries so much of the meaning!