Sistine Chapel - Creation of Adam 1 by Michelangelo Buonarroti, 1510

 
Sistine Chapel - Creation of Adam 1 by Michelangelo Buonarroti
 
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The centerpiece has been composed in strict conformity to Jacopo delle Quercia; new bold ideas appear in the two large pictures.

How could he succeed in giving such an extraordinary space in the creation of Adam? "One flapping of the wings and behind us lie aeon's". The steep naked slope of a very high summit is visible, sided by a second bluish mountain in the background.

Where the eagles soar, there God approaches the created world. This is the only time that his finger touches it; in his other works, he never comes so near the world. The touch is the chief thing here. Michelangelo has foreseen the picture of magnetic force, by two centuries.

One has also spoken, of the image, with regard to the word of the Scripture : So God created man in his own image. But then God was obliged to stop, while here he passes floating along. As all life produces itself in a moment, so here also, the moment is the father of all things.

God is surprisingly young; naked arms and legs show a hero who by each work doubles his force and freshness. The beauty, the exultation, and the happiness of the creator reach the highest point. The bliss of the constructor of the world is joined here by the delight in renewing himself.

A cloud of angels is nestling in his cloak; they all wish to be present, when the highest is being created. In his left arm, God carries already the mate of him whom he is calling into life.

As the fingers of God and man touch each other here, so the eyes of man and woman meet for the first time in yearning. Adam lies reclined like the drunken Noah, but young, and in the moment of awakening. Still he is in the hold of sleep and matter, from which he has been formed; slowly the limbs, which never before have been used, begin to loosen.

It is the typical Roman who has been represented here, not a Tuscan. Unique in this lying figure, is the steeply raised, high left thigh; no ancient painter would ever have hazarded such a thing.

Scripture speaks of a clod of earth, and about the blowing in of the breath. But God could be represented neither as a potter nor as a glass-blower.

Ghiberti and Quercia restricted themselves therefore to the simple appearance of God, before Adam lying on the ground. Here for the first time something happens: God draws near and touches.





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msnbc.com
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"We speculated that having used the brain motif successfully in the Creation of Adam almost a year earlier, Michelangelo wanted to once again associate the ...
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Newswise (press release) - 28 Jul 2010 at 8:33am
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