A painting is a fixed image. It reveals things all at the same time. It can’t stand for a sequence of incidents. But some types of prolonged activity it is able to manage. Now such events might well be copied everything at once’ for however long they keep going, they’re but repetitions of the same.”
Plus he is correct to propose that painting likes elements that move, but go continuously, without conspicuously altering the appearance of theirs – items including operating hourglasses, spinning tops, burning candles, streaming taps etc.
Their bias differs. They cause it to be a lot too methodical.
Keegan calls this type of creating the Battle Piece. Combat is a question of these masses evolving, mixing, overwhelming, penetrating, shaking, barging, colliding, scattering’ tasks which are practically dreamlike in the lack of theirs of substantiated causation.
It arranges items as a painter may do. It reveals the huge canvas, the introduction, the strategic picture, the grand design, a symphonic sensation of events unfolding. Absolutely no picture does it much more so compared to Albrecht Altdorfer’s Alexander’s Victory.
It’s history. The day was full of numerous changes of manoeuvre.
These’re 15th century armoured cavalry.
Plus it’s not Harris’s regular rolling chaos of “blood, disorder”, and smoke. It’s a feeling of manoeuvres, of that engagement and this engagement, of different regions of the battle, wheeling, troops close-fighting, charging. These episodes aren’t intended to be simultaneous, although their sequence is not apparent.
The photo has a feeling of the entire battle, the whole day. It is an all day sky, also. It stretches between sun and moon.
The sky occupies the fight. The arrayed plus turbulent cloud formations are forces battling it out there. The heavens join in. It is the fight appear legendary, of cosmic or historical significance, a final fight, a fight for civilisation or maybe the fate of the universe.