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The Sistine Chapel Analysis

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“The Sistine Chapel” Artist make choices, and it is the job of the viewer to analyze those choices. The Sistine chapel’s ceiling was painted by Michel Angelo between 1508 and 1512. The ceiling of the Sistine chapel has several different paintings that form part of a larger scheme of decoration inside of the chapel. The mass majority of these painting refer to some very important biblical stories. For example, three of the painting are a representation of the first book of the bible Genesis, telling about the creation of the world. Michel Angelo uses a wide variety visual element within his work of art to help portray a clear representation of the bible through his creations. The visual elements that are the most prominent in Michel Angelo’s painting on the Sistine …show more content…

Space is an illusion of distance on a two-dimensional surface. In “the creation of Adam” the sky represents space. The sky in this painting seems to go on indefinitely. To create this false space, Angelo had to use a combination of size, and location. For example, the man who represents god in the painting appears to be closer in the field of view and Adam seems to be farther away. However, in all actuality the two men are at an equal distance to the viewer; god looks closer because he was drawn on a larger scale. Michael Angelo also used the location of the two men to help portray an open and large sky. For instance, the man who represents god was drawn slightly higher on the canvas than the man who represents Adam. Therefore, God looks closer than Adam giving the illusion that the sky is larger than it actually is. The arrangement of space also represents superiority. For example, God is the creator of all men, women, heaven, and earth, making him the most powerful and important man known. Therefore, if the painting is set up like a pyramid god in on top, being the most important, and Adam on the bottom being the least

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The painting appears to have levels of designs on both side of Saint Francis, giving impression of a library. This indicated to me and others that the teaching of religion is central to all group and class. Saint Francis is the main focus and the details shows his work during at time. (Finkelstien) Furthermore, the colors and details on the Saint Francis Altarpiece is aesthetically pleasing.

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In Giovanni’s Room, James Baldwin uses the motif of biblical imagery to great affect throughout the story. There are allusions to the garden of Eden in David’s discussion with Jacques (page 25), the symbol of the crucifix in Guillame’s bar (page 39), David’s reference to Judas and the Savior (page 111), and a mention of the walled city of Jericho (page 123). Perhaps most poignant are the names David and Giovanni, harkening back to the books of Samuel, and offering a more hopeful interpretation of Giovanni’s demise. These allusions offer a strong cultural counter point to the presence of homosexuality in Giovanni’s Room and challenge the societal narrative David is surrounded by.

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He is the representative of sin because he is the one trying to hide his face from society because he has sinned and is hiding his face for everyone that has sinned. Which is basically the whole world because there isn't anyone that hasn't made a sin. Another symbol is the color black. He can also represent the people or the

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The prominent theme that the story, “The Man Who Saw Through Heaven” by Wilbur D. Steele revolves around is how people let the words of others affect/change them as deeply as they do. A pivotal point in the story that exemplifies the theme was when Mr. Krum, a Christian scientist, explained his belief to Reverend Diana about how Earth could merely be a little stone on a ring on another organism's tentacle (315). That thought altered how Reverend Diana saw the world, and Christianity. This consequently changed how he would spend the rest of his life. He replied saying “May be a--ring--a little stone--in a--a--a--ring.”

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The Way of Salvation fresco was painted by Andrea diBonauto do Firenze, an Italian artist, on the east wall of the Cappellone degli Spagnoli (Spanish Chapel) in the Chiostro Verde (Green Cloister) of the Church of Santa Maria Novella in Florence. However, the Spanish Chapel only became so in 1566, when the Dominicans handed it over to the Spanish community as a place for them to worship. Originally, it was the chapterhouse “in the Dominican monastery of Santa Maria Novella”, erected in 1350. The fresco, part of a series of frescoes, was painted in 1366-67, commissioned by the patron of the chapel, Buonamico di Lapo Guidalotti, as decorations for his funerary chapel.

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(p.117) which is depicted in Judgment of Hunefer Before Osiris. Both pieces of art depict a God who judges all and those less fortunate would be

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Religious Iconography Analysis “Creation and Temptation of Adam and Eve” by Wiligelmo Throughout decades, religious iconography has become a unique language of art, confound into religious art pieces to convey a deep implicit meaning of depicted objects. The term “icon” came from a Greek word, meaning image. An icon was originally a picture of Christ on a panel used as an object of devotion in the orthodox Greek Church from at least the seventh century on. Hence the term icon has come to be attached to any object or image that is outstanding or has a special meaning attached to it (Tate, n.d.).

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Furthermore, television shows and movies have at times displayed the image of God as this male figure. This image plays an important role in fulfilling my understanding of God. Genesis 1:27 states, “So God created man in His own image; in the image of God He created him; male and female He created them.” My image of God portrays him as a human being who is a wise protector and a figure of authority. This image displays that God does have a form.

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The nature of the religion makes a blending of culture an eventuality and as such some of the ideas from other religions can stick around. Early Christian art begins to stray away from the Jewish interpretation and contains many Roman cultural and religious aspects, including to some extent idol worship. In Judaism, there is no central image that can worshipped as God is depicted as being formless and everywhere. Comparatively Christian art has a very central figure that can be idealized and produced. Jesus, the embodiment of God in the Christian Religion, is fully visualized preforming his miracles (Fig 2).

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Adam is entirely naked and positioned on the lower left. God’s right arm is extended as if imparting the spark of life into Adam, whose left arm is extended in a mirroring pose of God’s. The mirroring pose suggests the underscoring of humanity’s creation in God’s image (Vasquez 18). Notably, the fingers of Adam and God do not touch indicating that God, the giver of life, is reaching out to Adam with life. Eugène stressed that it is difficult to misinterpret the ‘Creation of Adam’ fresco as within the Adam panel the symmetry of this creature on a summit coming to life is exposed.

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He however also brings to Pope Leo X attention the detail of the way light acts as a pyramid as it enters our eyes and affects the way we see these features of the building in paintings by

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A varied balance between the symbolic and realism has been struck world over by the painting. In the fifteenth century Western painting began to turn from its age- old concern with spiritual realities towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside

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