Introduction to Art Essays

Introduction to Art Essays Introduction to Art Essay Introduction to Art Essay EXPULSION OF ADAM AND EVE FROM EDEN Charisse Drysdale HUM 100 May 16, 2011 The purpose of this essay is to analyze the painting of Masaccio, Expulsion of Adam and Eve from Eden. Masaccio of the early fourteenth century attempted to observe carefully and to record the variety of his visual experience in a logical and clear manner. Masaccio faced the problem of arranging figures in a mathematically defined space without making the picture appear to be artificially constructed, and thus isolating them from the composition or even sacrificing them to the ideal proportions of the room. Masaccio solved the problem by placing the traditional portraits of his patrons, the figures of God the Father remains unclear, thus softening to some extent the rigors of the mathematical perspective. Masaccios painting is highly dramatic, volumetric, and expansive. The shapes of Masaccios Adam and Eve are constructed not with line but with strongly differentiated areas of light and dark that give them a pronounced three-dimensional sense of relief. The expressive movements and gestures that Masaccio gives to Adam and Eve powerfully convey their anguish at being expelled from the Garden of Eden and adds psychological dimension to the impressive physical realism of these figures. Masaccios harrowing scene of the expulsion of Adam and Eve from the Garden of Eden shows the expressive force and directness of his style. An angel drives the sinners into the harsh, barren world, where the light mercilessly exposes their guilt and despair. Masaccios composition is beautifully balanced within the narrow format. The forward movement, dictated by the gesture of the angel, is firmly anchored by the strong vertical running from the heads of Adam and Eve to their heels. The muscular tension of Adams body, and the fluidity of Eves, were inspired by a contemporary relief, Masaccio is one of the first artists to use light realistically, rather than using it to highlight his figures. They are drawn nude, with expressions of pure anguish that invite the viewer to oin them in sadness for the sin that we all share. Masaccio uses naturalism to portray one of the most known stories of his time, and this naturalism draws the reader into the emotions of the figures of the story. Because we share the same sin as the figures in the painting, they are depicted in a naturalistic way to make them seem even more like us. Masaccio was concerned with the naturalistic portrayal of human figures, particularly in terms of shadow and light, color, shape, and dimensions in space. These aspects all relate back to perspective: the painter takes pains to represent the size of the figures accurately and they therefore must further resemble Nature in their form, arrangement, and their ability to cast shadows. The figures must also be arranged in appealing positions, and the composition must have â€Å"dignity† in that there are enough characters to interest the viewer but not so many that the work appears crowded. Lastly, he emphasizes the importance of an istoria. That is, the work should contain some kind of narrative or story. The emotions of the figures must be culpable and real for the viewer: the viewer must enter the story. In sum, a painting must become the viewer’s emotional reality, as well as its physical reality (in that the painter attempts to recreate the plane of vision created by the visual pyramid of the eye). The figures must occupy space, capture light, and have mass: they must be a part of the viewer’s world. Scientific perspective also contributes to the viewer’s perception of the painting as reality; the painting is meant to appear as would a real scene in front of a viewer. The painter can use techniques of color, light, and perception to elicit a controlled response from the viewer. The viewer’s eye takes in the painting as seen from life and enters into the emotions portrayed; the istoria is of upmost importance in creating this illusion. Masaccio is using movement and perspective to create an illusion of space that is not actually there, but that would exist if the painting was reality. In this way, the viewer can enter into the istoria. The illusion of perspective reminds the viewer of their distance from God, their own mortality, and also the role of the Church as intercessor. Once again, the naturalist technique used by Masaccio is to elicit a certain response from the viewer and the world of the painting becomes their own reality.