Title and Author
The Interior of Saint Bavo, Haarlem is a 1631 piece’s main elements of infrastructure often attributed to Dutch painter Pieter Jansz Saenredam. The figures drawn in the bottom center of the image are said to have been done by a different artist, Pieter Jansz. Post.
Types of Lines: Location, Qualities, and Visual Effects
The painting is an interesting case study of the function of lines in art, as it utilizes practically every form of line in its contents. The horizontal line exists at the bottom of the image and is littered with figures of varying sizes, indicating the depth of the chamber. The vertical lines can be observed in a recurring manner; each column distinctly illustrates the rise of the walls and intricate arches. Hints of diagonal crossings can be attributed to the balconies that converge in the heart of the work, which also functions as the wall furthest away from the viewer. Curved lines are vital for this work and appear both in the central arc, the side arcs lining the main path, and the windows visible at the left and right of the piece.
Thinness and thickness of lines are also vital to consider as they provide varied effects. While the majority of the lines are quite thin, providing the illusion of volume and form, darker outlines also exist. They efficiently communicate depth and shadow, such as in the grooves of the arcs, the patterned ceiling, and the spaces behind the balcony. The combination of perspective lines and shading allows fora highly convincing illusion of three-dimensional space. The artist’s vertical lines are especially notable as they provide a great sense of height that is supported by the presence of the small figures.
Color Names, Types, and Relationships
The color palette for this work is largely muted and pastel with ochre, grey, sienna, and umber tones. The saturation of the colors is similar, with only the ceiling details and figures being much darker in tone. Both the white details of the ceiling, the lighter brown floor, and the barely visible blue in the window all fall in similar categories of shades. As such, the painting can be seen as largely monochromatic. There is some variation in color and shade, but it is minimal and largely presents a very closely related set of colors.
Due to the monochromatic nature of the piece, much of the viewer’s focus is drawn from color, which leads to composition. In the case of this work, the composition is greatly highlighted by perspective and the illusion of depth and space. As such, the colors facilitate the importance of the size of the chamber. The lighter colors transition with an incredibly soft gradient in order to illustrate the light filling the room without compromising on the size of the space.
Historical Context
It is also important to note that the church, which had been rebuilt at the time of the painting, has ties to both Protestant and Catholic beliefs. However, its time under Catholicism is largely considered unimportant, and most of its life had been under the guise of Protestant Reformation ideology. As such, it lacks the Gothic and more traditional qualities of a European church of the 15th century. Instead, it employs the more modern standards of the Renaissance, with form and grandeur prioritized over detail. The lightness of the colors is an extension of the values of both the Renaissance and the Protestant faith, which focuses more on function and less on appearance.