Final answer:
The gaze of figures in art is a powerful tool that guides the viewer's attention and implies relationships between the figures. It can also bestow a voyeuristic power to the viewer, as seen in the use of sight lines and in portraits where figures do not look directly at us. In interactive pieces like Eyeris V, the gaze can create an eerie feeling of being watched.
Step-by-step explanation:
Understanding the Gaze in Art
The gaze of figures within an artwork can significantly affect how the viewer engages with the image. In the case described, the sight lines created by where and how the figure's gaze implies a narrative or emotional connection between them, adding depth to the painting's story.
For instance, the angel in the red cape looks out towards us, drawing the viewer into a direct interaction. The angel then directs our attention to John the Baptist, creating a visual path for us to follow and emphasizing the importance of each character's gaze.
Moreover, the way none of the figures in the mentioned artworks directly acknowledges the viewer's presence can endow the viewer with a sense of voyeuristic power, allowing for scrutiny without the figures' awareness. This introduces a psychological dimension to the experience of viewing the artwork.
In Eyeris V (7.4.5), this effect becomes more pronounced as the eyes in the artwork seem to follow the viewer, enhancing the sensation that the artwork is interactive and responsive to our presence.
These formal features and the manner in which figures are depicted to gaze or not gaze at the viewer contribute to a complex and multi-layered interaction. Cinema too, as in the 1970s film scholars' gaze theory, extends this concept into how we engage with visual media, emphasizing the power dynamics inherent in the act of viewing.