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Creation Of Adam

In Uncategorized on August 30, 2011 at 15:47

Here’s a an analysis of Michelangelo Buonarotti’s Creation of Adam I wrote about a year ago– an assignment given by my Introduction to Art professor who may I just say, is awesome; man, I love that guy.

. . .

When Buonarotti’s Creation of Adam was shown to you for the first time, where’s the part of the painting you first turned to? Perhaps at the focal point where the two men’s index fingers attempt to be in contact, but then one tends to ascertain the origin of the connecting matters thus the way the viewer see the painting can be concluded as such, assuming the audience started from the left of the painting, piloting the eyes, making use of the man’s left arm as a bridge to the focal point where the two men’s index fingers attempt to be in contact and then to the right side of the canvas and then back to the focal point again, since the feel of the painting is like leading the viewer from the looks-perfectly balanced sides of the image to the very center of the canvas.

At the left side of the canvas, there’s a man lying down, uncovered exposing all his muscular features, on what seems to be grass, or perhaps earthy surface. He is making use of his right arm to support his weight leaning on his right side. His left arm stretched out towards the right side of the canvas with his fingers in a loose pointing position while the left leg, bent and seems like supporting the stretched out arm. Having seen the man lying down and subsequently, knowing the title, it can be presumed that it is Adam who is the subject at the left side of the painting.  From his position following his left arm to his fingertips which consequently leads the viewer to the right side of the painting, another being who one can assume to be the Creator can be seen. The Creator or God who made Adam wears flesh-colored clothes and appears to be lifted by angels surrounding him with a red cloak which in turn surrounds the angels. The Creator, supported by all His angels, has His right arm brought up into a more outstretched pointing position towards the opposite side of the canvas—looking like He’s trying to touch Adam.

The background painted for the two main subjects of the painting appears to be all white with a hint of sky blue at the upper left side of the image thus, assuming that the background are clouds. Hence, the setting of this painting could be pictured as heaven or more likely, somewhere in the middle of earth and the skies, since Adam appears to be on an earthy facade.

The way Buonarotti painted the Creator’s face left an impression that He, the Creator, has been longing or reaching out to Adam. It seems like He’s about to give something to Adam.  It has been discovered that the painting shows that “God is about to endow Adam with what makes human beings truly alive: the spirit, the soul, the intellect. All of man’s potential, physical and spiritual, is contained in this one timeless moment” (Literature, Arts and Medicine Database, para. 3). The look of Adam in the painting shows more of like an at-ease appearance. Since the Creator is just about to give him life, Buonarotti painted Adam in a passive state until the Creator has fully given him life. The Creator’s outstretched gesture obviously portrays what is written in the book of Genesis regarding the Creation of man. This gesture has summarized the giving of the breath of life to Adam.

Reference

Literature, Arts and Medicine Database. (n.d.) Art Annotations: Michaelangelo, Creation of Adam. Retrieved from: http://litmed.med.nyu.edu/Annotation?action=view&annid=10326

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