... for the first time on the fresco painting by Michelangelo in the sistine chapel. Inspired by a post I saw online.. I got curious about the creation of eve. The following is some research notes of an amazing and passed over (women's rights what?!?) piece of work.
He was right.. Everyone knows the famous Michaelangelo creation of man, and as prophecy foretold.. had no idea about this creation of eve.. google to the rescue!!!
Amazing piece of work, with God appearing first without a beard and stache... Then after a Michelangelo upgrade.. epic stache and beard!!
The following is from a combination of michelangelo.org , wikipedia and the last piece of my puzzle.. bluffton.edu (whatever that is??)
God, still with the triangular nimbus and voluminous robe, brings Eve to life. The fig tree figures prominently in the background of this scene as it did in the Creation of Adam.
(Source:bluffington (sounds cooler))
The central scene, of God creating Eve from the side of the sleeping Adam has been taken in its composition directly from another Creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna by Jacopo della Quercia whose work Michelangelo had studied in his youth.
"Proceeding from the entrance of the chapel towards the altar, the figure of the Lord appears for the first time in the Creation of Eve. He is also present in all the following scenes. The central position of this scene creates a further division in the nine scenes in the ceiling. This is in addition to the pattern created by the alteration of larger and smaller panels, and the arrangement by subject; three stories of the Creation of the world, three of Adam and Eve, and three of Noah, presented as the second Adam, saved from the flood, through the flood, seen as the symbol of the baptism.
In the four ignudi who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs.
The subjects of the scenes painted on the bronze-coloured medallions are a matter of debate: the one surmounting the figure of the prophet Ezekiel (at the left) might represent the Destruction of the Tribe of Ahab, Followers of Baal, according to a different interpretation, the Death of Nicanor; the one above the Cumaean Sibyl (at the right) depicts either David before the prophet Nathan, or Alexander before the High Priest of Jerusalem.”
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