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Elle Lam

In Leon Battista Albertis treatise titled On Painting, the inscribed text details the most
important contemporary aspects and techniques that govern an exquisitely fashioned painting
and a skillful painter. Particularly, The Adoration of the Magi composed by Gentile da Fabriano
undoubtedly adheres to the ornamental principles that are indoctrinated and purported by Alberti.
In consideration to the geometric parameters, the three elements that constitute a paintingthat
is circumscription, composition, and reception of light, as well as the historia that delineate
Fabrianos most eminent piece of artwork, it can be noted that Alberti most definitely would have
revered such composition with the highest of regards.
In light of the geometric aspects, to which Alberti stresses are pivotal to the fundamental
design of a painting, he presents to the painter a resolution from his mathematically derived
linear perspective that can be used to allocate a specific matter in space. In particular, a basic
understanding of the geometric canons aids the artist in his ability to portray the microcosm of
the object within the painting. Alberti purports his exposition of the linear perspective system, to
which he says that, the nearer the eye of the observer is to it, the less it sees, and the further
away it is, the greater the part of the surface (43). The painting composed by Fabriano follows
these mathematical principles in that objects further away from the viewer appear to be smaller
while closer objects share greater presence.
For one, circumscription, as Alberti exalts, must be performed in light sketches and
strokes so that the outline is made barely visible; if however it is done with a very visible line,
they will look in the painting, not like the edges of surfaces, but like cracks (68). As opposed to
this, the painting completed by Fabriano performs quite the contrary in that the soft lines to
which he melds perfectly with the overlay of people in the backdrop, hardly visible to the naked
eye. In addition to this, the composition of the people and animals alike that are depicted tailor to

Elle Lam
the corresponding body proportions. When observing the figure of baby Jesus for example, in
terms of the anatomical renderings and bodily form, it exemplifies the certain size conformity
and appropriate scale that Alberti entails in his thesisthat is, no one individual component is
too large or small for the other. Adding to this, the various palettes of color used by Fabriano to
varnish the congregation of people in celebrating the nativity of Jesus--a rather momentous
commemoration, has the bodies being adorned with rather lively flesh tones of whites and subtle
pinks which add dimension and vitality to the piece. It can also be noted that the centric source
of light is casted upon the distinguished figures of the three magi and Jesus. Here, it is evident
that they are illuminated by the beaming beacon of light and are the focus of the piece while the
surrounding figures fade into obscurity.
The historia crafted that chronicles the voyage of three wise men to visit Jesus also
employs a wide variety of timeless bodies that all differ in ages, movements, and styles.
Conveyed all throughout the panel there is an entirely diverse spectrum of people who all differ
in ages and personal calibers. Fabriano does an exquisite performance in demonstrating the
various walks of life that all people emerge from, having both the elderly and the youthful being
exemplified in this painting. He also imparts the idea that a historia will move spectators when
the men painted in the picture outwardly demonstrate their own feelings (81). Fabriano does
just thatwhen examining the individual facial remarks that constitute the people, the spectator
can actually feel the emotions that surges throughout the piecejubilation, rejoice, and
adulation. These sensations are exemplified by the very limber movements of raised hands and
buoyant, uplifting glances towards the sky. Alberti extols the painters ability to craft an artwork
that directly communicates and interacts with the viewer, and such an undertaking is executed in
Fabrianos work when he pegs a figure looking outwardly amidst the sea of people.

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