This work completely embodied the “dual” style of Uccello. On the one hand, the master is fascinated by the prospect, on the other hand he is devoted to the medieval tradition of bright color. Notice how unusually the artist solved the figure of Joseph – he sits on an ass saddle, put on the ground, and, resting his foot on his leg, humbly and even detachedly observes what is happening.
With faith in beauty Looking at the pictures of Paolo Uccello, you can not help imagining his life. Not very well-organized financially, not very abundant with wealthy patrons, rather lonely and sad in old age. George Vasari believes: he is to blame, too carried away by scientific research, and in fact could become the greatest painter. Perhaps, many contemporaries of Uccello also believed that they had the opportunity to see it “close”.
The eccentrics, carried away by something strange, not having a practical basis under their own eyes, can be seen at once – both to the sympathetic eye and gloating. Uccello believed in science and beauty. Or, rather, he believed in beauty and that his science could serve beauty. Probably nothing more than this amazing in his childlike purity and strength of faith, helped him not to lose heart, when life – again and again – turned to him with a gentler side.
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