Renaissance Movement
Renaissance art refers to the products of expressions produced in Europe between the 14-16 centuries. The movement emerged as a combination of factors, including a heightened awareness of nature, a resurgence of classical learning, and a more individualized vision of man (Encyclopædia Britannica, 2022). The French name renaissance literally translates to rebirth and suggests that the Renaissance signaled an abrupt departure from medieval norms (Encyclopædia Britannica, 2022). Historical evidence suggests that interest in the natural world, humanistic learning, and individualism existed in late medieval times and rose to prominence in 15th- and 16th-century Italy (Encyclopædia Britannica, 2022). At the same time, social and economic changes such as the secularization of daily life, the emergence of a rational money-credit economy, and significantly higher social mobility led to a new era in human culture.
The Creation of Adam by Michelangelo is a work of art commonly associated with the renaissance period. The painting incorporates key features attributable to this art era, such as naturalism and renewed secularism. Naturalism in the art could be seen in the attempt to draw anatomically correct bodies for Adam and God. The body proportions, muscular tension, and shadows imitate natural perception seen by the naked human eye. At the same time, the renewal of secularism during the renaissance was constructed around biblical subjects and characters in contrast to medieval emphasis on the accuracy of religious interpretation. The painting could be considered secular due to the incorporation of key characters such as God and Adam. The scene portrayed focuses more on the interpretation of the belief that humans were created in the image of God. Thus, diverging from the historically outdated approach but transmitting core ideas of religion in the manner attributable to the renaissance era.
Michelangelo’s Unique Trait
The creativity seen in Michelangelo’s composition, the Creation of Adam, particularly the flying figures, has been praised by many. The rendition of the Creation of Adam depicted in Ghiberti’s Gates of Paradise serves as the best example of earlier scenes that do not depict God flying (Dunkelman, 2010). He does not bravely and horizontally move over the landscape; instead, he stands on the ground or occasionally reaches his hand towards the sky (Dunkelman, 2010). Even when God is depicted as the flying figure, the viewer only sees the upper half of God’s form as opposed to a strong, idealized, classical physique depicted from head to toe by Michelangelo (Dunkelman, 2010). This daring move in the history of art makes the artwork unique on the plane of other renaissance paintings.
Influences
Michelangelo was influenced by numerous factors in preparation for the production of the fresco. It is considered that the body type of Adam and God was heavily inspired by the statue of the Vatican’s Belvedere Torso (Cascone, 2015). Both artworks emphasize large-sized body proportions with bulky muscular structures. Some argue that Michelangelo talked about the sculpture as a model posing for his work. Michelangelo was a religious individual heavily invested in the work of Christianity. He was often commissioned by church representatives to create his masterpieces. Even the subject for the fresco, the Creation of Adam, is heavily influenced by Biblical text that argues God created humans in his own image. Consequently, the resemblance between God and Adam is apparent.
Reflection
The research increased my appreciation of the artwork by establishing a historical framework and key details for the focus. The review of God’s depiction allowed us to critically evaluate the significance of his positioning and the choice for resemblance to Adam. The renaissance context allows one to see that the painting could be considered a reevaluation of common biblical subjects. Thus, increasing the interest of the general audience and the enjoyment it may bring to a person.
References
Cascone, S. (2016). The Vatican’s Belvedere Torso heads to London. Artnet News. Web.
Dunkelman, M. (2010). From Microcosm to Macrocosm: Michelangelo and Ancient Gems.Zeitschrift FĂĽr Kunstgeschichte, 73(H. 3), 363-376. Web.
Encyclopædia Britannica, inc. (2022). Renaissance art. Encyclopædia Britannica. Web.