It is perhaps the best-known painting in the Ashmolean Museum, Oxford, England. • Flagellation 28 minutes Available for over a year First broadcast: Thursday 20th Aug 2015, 11:30. This painting is a late work, probably of c.1470. Order a Hand-Painted Reproduction of this Painting | pause. A glance around the room quickly stands the painting out as unusual: not only is its subject matter – and all-over dark palette – peculiar in the room’s context, but it is undoubtedly a unique example when considering other artworks of the period: compared to its mid-15th century counterparts, many of which focus chiefly on religious subjects, Uccello’s aesthetic focus on the beauty of a sporting pastime is a digression from the traditional genres of the period. Hunting was … [Skip to quick links] the huntsmen's spears, fallen tree trunks and patterned lines of foliage [Skip to content] Art UK has updated its cookies policy. © www.PaoloUccello.net 2019. As one’s eye naturally progresses further into the image, deeper layers are unlocked. Hunting was an aristocratic pastime with its own rituals (and the crescent moon, symbol of Diana, the chaste goddess of the hunt, appears in the horses' trappings) and the idea here of a hunt by night is playful or symbolic rather than realistic. You know it's faultless. You know it's faultless. Technical Evaluation Edit perspective - emphasized colour and decorative pageantry rather than Artwork does not need to be technically outstanding to be considered of significance – although this painting certainly is; one of the hardest things for an artist is creating a palpable mood in the individual viewer; and Uccello is undoubtedly skilled in this way, his colours playing a crucial role in this unique mood of oxymoronic ‘lethargic energy’ – night-time vibrance. It is perhaps the best-known painting in the Ashmolean Museum, Oxford, England. Read more on The Ashmolean Museum of Art and Archaeology, The Ashmolean Museum of Art and Archaeology, Niccolò Mauruzi da Tolentino at the Battle of San Romano, The Battle Between the Florentines and the Sienese at San Romano, 1432, Art Matters podcast: the beauty in beasts. Like its more famous sister painting - Paolo mapped out a framework on the surface of the panel, fixing a central disappearing point. Join our contributors’ group here or email us – click here for contact details, BREAKING: The government has announced that the en, In the run-up to the Union elections tomorrow, Pro, "This group was certainly varied. Here he uses it to evoke the excitement of the chase and to draw the viewer further into the darkness as the hunters, horses and hounds disappear - the Hunt in the Forest(also known simply as "The Hunt") illustrates Uccello's mastery of linear perspective, which he used to create a feeling of depth in his paintings. and seem to recede into the distance, whereas everything that is below Of all the paintings in the vast Ashmolean collection, Paolo ‘Uccello’s’ (real name di Dono) ‘The Hunt in the Forest’ has always been a favourite of mine – and certainly one of the museum’s best-known works, and for good reason: painted between 1465-1470, Uccello’s masterpiece wonderfully encapsulates the transition between the medieval Italianate style and […] The Hunt in the Forest | Art UK Celebrated in his lifetime as a painter of perspective and of animals and landscape, Uccello was a versatile artist who worked at times on mosaic and stained-glass design. By Piero della Francesca. On the one hand, Uccello creates frequent repetition in shapes, using recurrently elongated, drawn-out shapes around the bottom edges of the composition – such as the rearing horse and (strangely) straight-backed rider in the mid-right – creating a flowing visuality, a fluid movement merely occupying the bottom sides of the composition. Moreover his most famous works are not religious paintings illustrates Uccello's mastery of linear Painting). Add or edit a note on this artwork that only you can see. Hunting was an aristocratic hobby with rituals of its kind. Creating a seemingly never-ending space, one is captured by the uncertainty of the hunting party’s outcome: they have not cornered some deer at the edge of a field – they are bravely chasing them forth into the unknown. art The painting on this piece was done using oil. The painting illustrates participants in the hunt, including people, dogs, deer and horses vanishing into the dark forest that is shown in the distance. In The Hunt, the four trees in the foreground not only Your feedback will inform how we grow Art UK in the future. Celebrated in his lifetime as a painter of perspective and of animals and landscape, Uccello was a versatile artist who worked at times on mosaic and stained glass design. The mechanisms of the huntsmen's spears, the logs and cut branches, as well as the area of water, signify this coherent space. As a result, he left no school of followers. A postcard of the painting is discovered as a clue to a murder. If true, this makes it one of the world's • Analysis Uccello's approach is also highly decorative, with bright, clear colours set off against a dark background: the foliage of the trees was once picked out with gold, accentuating the precious, mosaic-like effect. interpretation is that the picture is an allegory of the search for love. The Hunt in the Forest (also known as The Hunt by Night or simply The Hunt) is a painting by the Italian artist Paolo Uccello, made around 1470. of Early Renaissance Painting Throughout, Uccello has included numerous points of symmetry which add to this sense of (aesthetic) organisation amongst the chaos.

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