Fraternity-Testvériség, 1964 (42. évfolyam, 1-12. szám)
1964-02-01 / 2. szám
FRATERNITY 9 cannot be detected. Depending on the intensity of the light, the light and shade effect will reveal new characteristics each time the light is so applied from a different direction. A more detailed study of the light and shade effect can be made by viewing a statue first with one eye (for the primary effect) and then with both eyes (for the secondary effect). The eyes, the nose, the lines around the mouth, the forehead, the chin, the cheek bones and the ears will produce a different impression each time the light and shade effect is changed. If we examine a statue of the human body, we find the surface changes within every square inch. With his sharp eye and heightened powers of observation, P'inta noted these changes and his sensitive fingers reproduced them realistically in his works. He wrote: The living human form is never absolutely straight in its lines anywhere, not absolutely flat or regularly curving in any of its surfaces, not even for one square inch. It is this quality, these living lines and living surfaces, that has characterized all the great sculptured figures of the past.1 Statues from the Hellenistic period substantiate Finta’s theory and technique. While their predecessors strove to idealize their subjects, the sculptors of the Hellenistic period copied nature realistically. Finta excelled not only in sculpture, but also in low reliefs. He was able to control their depth with such fineness that they are practically paintings. His ability to produce an extremely fine degree of roundness is evident in the Triptych he made for the Petropolis cathedral, in the carved chest described above, and in all of his other works executed with the same technique. His miniatures, too, are masterpieces of fine relief work. 1 Ibid.
