This is not a spiritual art where spirit and body are regarded as two
separate entities. It is not gloomy, cold and forbidding, but is an art which is a
happy blend of the sensuous and the spiritual. The spirituality is not
chilled by an asceticism which is disdainful of female loveliness and the
delights of love. In fact, its spirituality very much based on flesh and
blood. It is an art which glorifies female beauty and revels in the
loveliness of the female form.
The knitting together of form and color into a coordinated harmony is the
hallmark of this painting. Form and color are so blended that the effect is
musical. To achieve such a harmony, the artist has used both line and color.
The line which he uses is the musical rhythmical line,
which express both movement and mass, representing the flow and ardor of
impassioned love. The type of line which Blake admired, and regarded as the
golden rule of art is this: " The more distinct, sharp, and wiry the
bounding line, the more perfect the work of art, and the less keen and
sharp, the greater is evidence of weak imagination." And what a rhythm these
dancing lines create, a pure limpid harmony! This
line is effectively supplemented by colors-the blues, yellows, greens, and
reds, the pure colors of earth and minerals, which shine like jewels.
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