Adam And Eve Durer Analysis

After returning to Rome, Michelangelo heard about a sculpture that two other artists could not complete because of its difficulty. Because of his success with ‘‘La Pieta,’’ Michelangelo decides to take over the job. He created ‘‘David’’ in 1501 and four years later the sculpture was placed outside the Palazzo Vecchio in Florence. Michelangelo’s intention was to portray ‘‘David’’as the perfect and ideal man. Michelangelo took three years to sculpt this 17 feet sculpture, and ‘‘David’’ quickly became the pride of Florence.

During this painting, Michelangelo didn’t have the drive he usually did, but when his greatest enemy, Perugino started to work on it with him, that drove him to another level. Michelangelo’s interest in portraying the human body, reflected how the people in this time period felt, and that made the people who viewed his art interested in his work. Also, his sculptures reflect how dramatic of a shift it was to the Renaissance Period from the Middle Ages, and shows how the

Man has been creating art for over 30,000 years. There are cave drawings, sculptures, Egyptian art, Greek Art, Modern Art and plenty more but to many, the Renaissance Art period is considered to be most important. Never had so many geniuses in art lived at one time and never had so many pieces of cherished art been produced. Two examples of Renaissance paintings are Cigoli’s Adoration of the Shepherds and Moretto da Brescia’s Entombment. Both paintings posses the attributes that were popular during the Renaissance period which I will now contrast and compare.

To begin with, the word pieta is an Italian word that means “compassion”. This theme arose in Germany in different sculptures showing the sense suffering that Mary had when she saw her son’s martyrdom. This theme succeeded in pictorializing and recalling the moment of the Christ’s death in the worshippers’ minds which was considered an important matter in the medieval mysticism. The body’s composition reveals a formal and psychological tension to engage the audience with the sculpture (Little, etal, 20). This subject was born when artists imagined the events that occurred right after the Christ was deposed from the cross. Additionally, this theme occured in a time when people were asking for a “direct contact” with the divine which was a in demand especially after the Black Death, the plague, that swept that swept through Europe killing 2/3rds of the population spurring a religious revival. The theme of pieta started under the influence of the Byzantine Empire, in the thirteenth century, and this influence had a strong connection to local contemporary devotional literature, and the mystical movement centered in Byzantine.”(Wixom, 35). The sculpture was made in the late medieval, which was a time of having religious narrations in different countries providing the details of the birth of Christ, his crucifixion, and his mother’s and public’s reaction on his death. Plus, medieval age also shed the light on the emotions and divinity giving it a lot of attention in art. The place of the pieta sculptures was in the church, and they probably intended to be placed for the intimate setting of a side or secondary altar. (Wixom,

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

Immediately, my eyes are drawn to Adam and Eve, for they are the largest figures in the painting. All of the characters are stylized to the tune of what the artist wants, for his figures, including the animals, are shown as very muscular, not very naturalistic. This is similar to Michelangelo’s characters, he believed that the mans body is the pinnacle of god’s creation, using the male body as the body of all of his characters, men and women included. These figures are also similar to the Greeks, who were very focused on the human body.

The body of Adam, fully nude with the exception of a leaf, is very realistic and accurate, greatly detailed from his tightly curled hair to the creases in his knuckles. Without even touching the work I can “see” the purity of its marble and the smoothness of its carving. The muscle and facial expression of Adam are remarkably convincing qualities, showing the overall tense feeling of Adam’s pose. He stands on a flat base, and it is seen there that he is leaning forward because both feet are slightly lifted off the ground. He seems to be moving in a forward direction. That encouraged me to explore the back of the sculpture, where I found the same remarkable realism through muscles depiction and perfected proportion.

Prompt: Select and fully identify two paintings from different art historical periods and cultures that depict the same subject or theme.  Then discuss how the presentations are a reflection of the culture and style in which it was created.

Vittore Carpaccio’s symmetrical input truly served it’s purpose. Focusing on the center third of the painting, there’s a mere perfect symmetrical contrast of life and death top to bottom. Most impacting is the symmetrical division of the malnourished and tortured body of Jesus Christ, The left side of his body is in a lively sitting posture on the throne. While his right side is the embodiment of death, his punctured ribs and dangling arm. From the ground up, Carpaccio illustrates the contrast of life and death with minimal details in the painting. The supporting stones of the throne, directly below the arm rests, are divided by breakage, the left stone is cracked and falling apart, while the opposing stone appears to be intact. Vittore Carpaccio managed to capture the cycle of life with many elements one wouldn’t think of comparing life and death with. The top left portion of the throne is a half broken, followed by Jesus’s deadly posture to the falling apart ground stone of the throne, Death is captured in a very recognizable minimalistic form.

The works of Leonardo Da Vinci and Michelangelo influenced the art of the 16th century in Italy and Europe in many ways. Three of Michelangelo’s works such as: The Last Judgment, Pieta, and David were great works during his time. Leonardo da Vinci also contributed great works to the 15st century such as: The Last Supper, St. James in the Wilderness, and The Mona Lisa. Although there were some similarities in Leonardo da Vinci and Michelangelo’s works, their differences and uniqueness is what made their works great masterpieces of the 15th and 16th century.

Our world is full of so many grandiose monuments, eye-catching sculptures, and stunning statues, each having an individual story to tell. Thousands of them have been created however, only a small number of them are actually extraordinary and picture-worthy. This paper will compare and contrast two of those picture-worthy sculptures. Furthermore, I will examine the aspects of each of these sculptures. I will compare and contrast what each of them represents, the differences in texture, their size and their tone.

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

My illustrations are regularly influenced by my time at university, drawing on my studies of prehistoric cultures, with the main themes inspired by Palaeolithic and Megalithic art. I combine stylised animal forms of extant, extinct, and mythical beasts with representations of entoptic phenomena on background textures. These backgrounds are often enhanced photographic images of natural stone, stained and damaged concrete, or weathered wood.

Durer’s engraving of 1504, Adam and Eve, clearly reflects his sacred attitude towards his craft. His attention to detail and clever use of symbolism shows the reverence that he has for his art form. Religion itself is a scared subject matter and the fact that he engraved two of the most famous religious figures in history and engraved them well shows the sacredness that he feels towards the subject and his art work. Everything in this engraving has meaning and symbolism. Adam and Eve, standing opposite each other, holding onto the branches of The Tree of Life and the forbidden Tree of Knowledge, respectively. They represent the duality of humanity and humans in their purest form, before the Fall of Man. The animals, the elk, ox, rabbit,

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.