Cindy Sherman’s adaptation of Fornarina incorporates several changes that alter the perception of the painting in some respects compared to Raphael’s work. First of all, modern interpretation differences relate to the hypertrophied features of the woman’s body. The girl in the modern interpretation has a much more pronounced breast and details than the original. A notable difference in Sherman’s work is the woman’s pregnant belly, which she covers with her hand. The girl’s face in Sherman’s painting expresses features of dissatisfaction, thus addressing the viewer. Another significant difference between the paintings is in the clothing and adornment of the girls. While Raphael depicts expensive clothing and luxury items, the modern painting replaces these elements with handmade materials. The Sherman painting thus modernizes the Raphael painting, giving it modern features. Furthermore, the modern Fornarina expresses the problems of the contemporary woman rather than embodying the example of the Renaissance girl as the original.
In Sherman’s interpretation, Bacchus has most of the external features of the original, but the details alter the painting’s context. The identical clothing and the ivy leaves suggest the author’s desire to possess the Raphael image by assuming the form of the man he painted. The gaze of Bacchus in Sherman’s painting is less ambiguous than in the original. This element adds a touch of a challenge to the artist of the past. A notable difference is the handful of grapes the modern Bacchus does not hold as close to his heart as the original. This detail may symbolize a kind of mockery, for an object essential to the original is portrayed as less valuable in Sherman’s work. In general, the modern image may be seen as a reworking of Raphael’s work and a challenge to it. In this respect, Cindy Sherman appropriates the art of the past to contribute to the development of contemporary art.