I purchased a painting at a yard sale a few years ago. It is
a simple portrait of a woman. To some it might not be great art, but I find it
breathtaking.
Before being assigned to interpret it in terms of Gestalt
principles I often tried to determine what it is about the painting that I am
drawn to. It’s probably obvious that it’s the woman herself that appeals to me.
She is most likely of African descent; however my friends and I have debated
her ethnicity on more than one occasion. My Filipino sister sees her as being
possibly from the Philippines, or at least the Asian Pacific. She could also be
Puerto Rican, Samoan, or Hawaiian. For me her undefined ethnicity adds to her
appeal.
The other thing I love about this picture is the expression
on her face. Without any context I have created my own narrative. I see her as
having just awakened in a tropical local. She has walked out on the veranda and
is basking in the sun and the cool breeze coming from the ocean outside her
door. Through this story I imagine myself in her place, and the tranquility I
might feel in such a setting.
With all of that in mind, there is a part of me that resists
analyzing the painting in Gestalt terms. If I look too hard at the painting I
worry that it will lose its mystique.
Nevertheless, here goes:
Figure/Ground
This painting applies a unique perspective in terms of
figure ground. Even though the woman is clearly defined she is very close in
color to the background. Without the gradating colors surrounding her form she
would likely blend into the background. And in fact she does at the bottom as
the piece of cloth she is holding fades from blue into brown.
Enhancing the figure ground relationship is the fact that
the ground is a simple background. It is not a landscape, a wall, or any kind
of scenery. Because it is an undefined background the focus is never drawn away
from the figure.
The Law of Continuity
Line is an important element in this painting. In almost all
instances the lines are soft and curving. Her hair, face, body, the flower,
even the fabric are soft and flowing. I see this as adding intimacy to the
photo as the eye traces each line, specifically those in her décolletage area.
The curve of her breast, the shape of her shoulder and collar bone, and the
highlights and shadows all draw the eye. Even if you begin at her face,
ultimately you will trace the line down to the fabric clutched at her bosom.
The other area where lines are used is in her fingers. She has
lovely long fingers laid gracefully across her arm with the fingers parallel.
Aside from the few pops of color, this is one of the strongest, most eye
catching elements of the painting because it uses line so strongly and almost
defies the gentle curves of the rest of the painting.
Balance
Stepping away from Gestalt principles I want to address the
symmetry of the painting. Even though the subject is in profile with the
majority of her features facing the right side, there is still symmetry in the
painting. Specifically it is found in the only two occasions of bright colors.
The figure and background are comprised of similar shades of brown with her hair
being slightly darker. The only real colors used are the pink flower in her
hair and the blueness of the fabric. The blue is applied most heavily in bottom
right third of the painting. To offset this, the brightness of the pink flower
in flower her hair adds balance and symmetry.
This painting hangs above the sofa in my living room. When I
enter my home it is almost always the first place my eyes land. When that
happens I am awash with the tranquility of her expression and the comfort of
finally being home. For that reason it will likely remain in that spot at least
for as long as I live in this apartment.
Although I will probably move it so that it is
centered on the couch because right now it’s off center and the lack of symmetry kind of bugs
me…
