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The Separation of Light from Darkness is based on verses 3–5 from the first chapter of the Book of Genesis: 3 And God said, "Let there be light," and there was light. 4 God saw that the light was good, and he separated the light from the darkness. 5 God called the light "day," and the darkness he called "night." And there was evening, and ...
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
The First Day of Creation, God divides light from Darkness. This was the final narrative to be painted. Detail of the figure of God, which was painted by Michelangelo in a single day and may represent Michelangelo himself, painting the ceiling
"And God saw the light that it was good; and God divided between the light and the darkness." Jewish Publication Society (3rd ed.) "And God saw the light, that it was good; and God divided the light from the darkness." King James Version "And God saw the light, that it was good: and God divided the light from the darkness." New King James Version
The Creation of the Sun, Moon and Plants (sometimes The Creation of the Sun, Moon and Vegetation or The Creation of the Sun and the Moon) is one of the frescoes from Michelangelo's nine Books of Genesis scenes on the Sistine Chapel ceiling.
Michelangelo – Sistine Chapel ceiling, including the Separation of Light from Darkness (completed) Raphael. The Expulsion of Heliodorus from the Temple (fresco in the Raphael Rooms of the Apostolic Palace in the Vatican) The Triumph of Galatea (fresco in Villa Farnesina in Rome) Titian – approximate date The Gypsy Madonna; La Schiavona; The ...
The "Rebellious Slave" is portrayed trying to free himself from the fetters which hold his hands behind his back, contorting his torso and twisting his head. The impression given, which would have contributed to the spatial appearance of the monument, was that he was moving towards the viewer, with his raised shoulder and knee.
The blindingly bright light is the apex of this story; it is because of this that Michelangelo chose to situate this painting on the western wall with the eastern exposure, so that the lunette situated above The Conversion of Saul would provide a bright light to illuminate it throughout the day.