Louis Comfort Tiffany – Tiffany The Call of Isaiah
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The upper portion of the work features a figure seated upon an elevated platform or throne. This individual, presumably male, possesses a youthful countenance and is adorned with wings that extend outwards, creating a halo-like effect. A radiant glow emanates from behind this central figure, suggesting divine presence or enlightenment. The surrounding glasswork in this area utilizes a palette of blues, yellows, and oranges, contributing to the sense of luminosity.
Below, a more dynamic scene unfolds. A kneeling figure, presumably human, is depicted reaching upwards towards another winged being. This lower figure appears to be experiencing a moment of profound revelation or spiritual awakening. The gesture of outstretched hands suggests supplication, acceptance, or perhaps even a forceful calling. The wings of the upper angel are partially extended downwards, seemingly facilitating this connection between the two figures.
The color scheme in the lower portion shifts towards greens and earthy tones, creating a visual contrast with the brighter hues above. This shift may symbolize the transition from earthly concerns to spiritual understanding. The use of varied glass textures adds depth and complexity to the composition, enhancing the sense of movement and emotion.
The lead lines that define the individual panes of glass are not merely structural elements; they contribute to the overall design by creating a network of visual pathways that guide the viewers eye across the scene. The vertical format reinforces the feeling of ascension or spiritual elevation.
Subtly, there is an implication of power dynamics at play. The figure on the throne appears detached and authoritative, while the kneeling individual embodies humility and vulnerability. This suggests a narrative of divine intervention or a moment of profound personal transformation prompted by external forces. The composition as a whole evokes themes of faith, revelation, and the human relationship with the divine.