In this piece, Rubens presents the story as an illusion. It is a tapestry within a tapestry. In the foreground, there is some elaborate architecture which frames the main subject, and the tapestry is held up by cherubim in the background.
Line and Shape
Most of the lines present in the painting are curved, especially in the centerpiece.
The straight lines are on the outside, serving as contrast to further emphasize
the main subject. The shapes are mostly organic, the exception being the architecture,
once again highlighting the main subject. If arrows were drawn in the direction
the faces were facing, they would converge in the center of the painting,
in between Abraham and Melchizedek. This serves to bring the audience’s
eye into the painting.
Texture
The piece’s actual texture appears to be smooth, and the simulated textures
depicted seem true to life. Shading helps to create the illusion of texture,
especially in the cloth and in the décor of the structures. The flesh
of the cherubim seems soft and chubby, and the flesh of the men seems muscular
and rougher than that of the cherubim. The hair is almost wispy in areas,
and has volume and highlight where the light touches.
Value
The light source seems to be a from the front, and a little to the left to
produce the shadows in the painting. The two figures in the center are well-lit
to show emphasis. Chiaroscuro is used to create a three-dimensional effect.
There is tenebrism on both the left and the right sides, in the far left figures,
and the servant on the bottom right. Highlight is present on Abraham’s
armor as well as on the cherubim’s faces and the king’s robes.
Color
Local color is used in this painting, that is, the natural colors of the objects
represented are used. The painting is generally warm, especially the figures
and their clothes, much of which is red and gold.
Space
The painting has limited space if using the bordering architecture as the
reference point, but it has infinite space through the tapestry, where you
can see a landscape and a structure. A sense of depth is conveyed through
use of linear perspective, as well as aerial perspective. Objects overlap
to show what is in front. Detail also increases as the object seems to get
closer to the viewer. The little marks on the stone of the pillar is visible
whereas the structure within the tapestry is less clear. The size of the people
in comparison to the building in the background of the tapestry also gives
a sense of depth.
Harmony
There are repeated patterns and colors on the architecture framing the tapestry
that serve to create unity. The colors are of the same sort, no bright neon
colors that clash. There is the primary color triad present, especially in
the color of the king’s and Abraham’s clothing. The background of
the tapestry is the same cool colors throughout, blue and gray, to join the
figures together.
Variety
While unity exists, there are enough contrasting properties to produce interest
in the painting. For example, there is contrast in organic and geometric shapes.
There is contrast of light and dark, as well as warm and cool. The different
poses of the figures also create variety.
Balance
The balance in the painting is almost completely asymmetrical. There are almost
equal numbers of people on each side, but not all in the same position. The
architecture seems to be heavier on the right side than on the left. The figures
on the right are also placed higher up than those on the left, and the cherubim
are mostly on the left.
Dominance and Center of Interest
The focal point is between the faces of the king and Abraham. There is a space
around them whereas all the other figures are crowded together. They are in
the center of the tapestry, and they are better lit than the surrounding figures.
