Stenen tabernakel in de Sint-Martinuskerk te Aalst before 1889

Editor: Here we have an image of "Stenen tabernakel in de Sint-Martinuskerk te Aalst," dating to before 1889. It appears to be a print of a stone or possibly wooden tabernacle. I'm immediately struck by its geometric qualities and the intricate ornamentation. What do you see in this piece from a formalist perspective? Curator: The composition displays a remarkable balance between verticality and horizontality, doesn’t it? The print masterfully captures the play of light and shadow, emphasizing the various planes of the tabernacle's architectural structure. Note how the artist guides the eye upward through the progressively intricate layers. The very texture seems to vibrate. What semiotic clues can we identify that amplify the intended viewing experience? Editor: I suppose the height draws our eyes up towards a divine or higher place? And I didn’t notice the balance you’re talking about. Curator: Indeed. Consider the geometric patterns incorporated into the tabernacle’s design. Can you see how squares, rectangles, and perhaps even implied circles contribute to a sense of order and harmony? This order is subtly complicated by the organic forms introduced via figuration. Notice the tension between the geometric versus figurative representations. Editor: Ah, now I see! So, it is like a geometric framework with figurative embellishments… that really shows me how the artwork comes together to enhance its overall impact. I didn’t see that at first glance. Curator: Precisely. By examining these formal elements, we start to decode not just what the work depicts, but also how it operates as a visual experience and perhaps even something tactile, depending on the original object and its various layers of creation. It is so much more than just the scene itself. Editor: It's amazing how much can be understood simply by observing the artwork’s inherent formal qualities. I have a totally new appreciation for what a formalist approach offers.