Search results
Results From The WOW.Com Content Network
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 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
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 figure reproduced may be seen in context in the above image of the Separation of Light from Darkness. In the process of painting the ceiling, Michelangelo made studies for different figures, of which some, such as that for The Libyan Sibyl have survived, demonstrating the care taken by Michelangelo in details such as the hands and feet. [112]
"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.
The downward sloping hills, the beam of radiant light, and the groupings of the figures surrounding Saul make it clear to the viewer that he is the most important person in this figure-heavy piece. Further in the background is an outline of a city to contextualize the exact moment in which Saul is experiencing this divine intervention.
The work depicts a naked man and, apart from the enigmatic subject, the sculpture is made particularly complex via the use of versus twist, which shows the body's contours in depth, multiplying the points of view.