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Detail
of Moses
(right
side vacuumed spring 1999) |
| Sketches
for Moses |
Sketch of Seated Man; verso: Study for Moses
1890-1895 |
Study for Moses (2)
1890-1895 |
Study for Moses (3)
1890-1895 |
Study for Moses (4)
1890-1895 |
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Moses
(North
Wall)
John
Singer Sargent
-- American painter
1895
Boston
Public Library
Murals
Jpg: artmuseums.harvard
Frieze of
Prophets
Moses is
presented a lot
differently given his importance and is more traditional
-- which means in a more Iconic – more
pre-Renaissance -- pre-Perspective sort
of way. But he is the only Prophet that is a relief -- and that makes
him, of course, stand out. This dynamic of two-dimensional V.
three-dimensional iconology really POPS when you
see it stand alone among the inverse dynamic of “High Renaissance"
(twisted animated bodies on flat canvas) of the rest of the Frieze.
Unfortunately, this visual effect really doesn't translate in photos.
But what is Sargent driving at with the wings? The New York Time’s
article (December
7, 1913) which talks about Sargent following Michelangelo’s example
in
treating the Moses “conventionally” led me to this:
Michelangelo in
Juxtaposition:
Michelangelo
Moses
|
John Singer
Sargent
Moses |
Step Back
Frieze of Prophets
The
Israelites Oppressed lunette and Frieze of the Prophets
(North
End)
General
view of North End, Sargent Hall, Boston Public Library
Boston
Public Library
Notes:
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