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Sunday, July 8, 2012

Contrapposto

Historically, contrapposto is a recently coined word (about 1903) but an ancient practice.  It is defined partly as: multiple figures which are in counter-pose (or opposite pose) to each other.  A fuller definition is suggested by a dictionary entry for counterpoint: combination of two or more melodies into a single harmonic texture in which each retains its linear character.  Substitute "figures" for "melodies."

Many fine compositions have been crafted with a judicious use of contrapposto.  My first example is a Greek sculpture from about 510 BC.  Luckily, hostile invaders from some other tribe only did a mediocre job of breaking up the sculpture.  A man has snatched a woman he wants off her feet and is getting ready to put her in his chariot.  She's not putting up a fight.



This Imperial Roman wall painting, preserved under a 75 foot layer of volcanic ash, is a copy of a Greek original.



About 1400 years after the eruption of Vesuvius, artists in Florence began to put contrapposto to use again.  This is by Leonardo da Vinci:



This is another very compact sketch - hand to hand combat this time.  Michelangelo, about 1520:



A stable and harmonious group by Rembrandt from about 1635.  Note the slight foreshortening of the seated man's right leg.



Here is an example of too much contrapposto.  Each figure is nicely posed, alive and articulated; there is no stiffness or inertness about any of them.  But together, they don't read.  What is the cause for all this dramatic gesturing?  Ranieri del Pace:



The last two are more recent examples - Degas, 1895, and N. C. Wyeth, 1916.


 

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