Adam and Eve (visual arts)
From The Art and Popular Culture Encyclopedia
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| [[Adam and Eve]] were used by [[early Renaissance art]]ists as a theme to represent [[female nude|female]] and [[male nude]]s. Later, the nudity was objected to by more modest elements, and [[fig leaves]] were added to the older pictures and sculptures, covering their [[genital]]s (see [[Depictions of nudity]]). The choice of the [[fig]] was a result of Mediterranean traditions identifying the unnamed ''[[Tree of the Knowledge of Good and Evil]]'' as a fig tree, and since fig leaves were actually mentioned in Genesis as being used to cover Adam and Eve's nudity. | [[Adam and Eve]] were used by [[early Renaissance art]]ists as a theme to represent [[female nude|female]] and [[male nude]]s. Later, the nudity was objected to by more modest elements, and [[fig leaves]] were added to the older pictures and sculptures, covering their [[genital]]s (see [[Depictions of nudity]]). The choice of the [[fig]] was a result of Mediterranean traditions identifying the unnamed ''[[Tree of the Knowledge of Good and Evil]]'' as a fig tree, and since fig leaves were actually mentioned in Genesis as being used to cover Adam and Eve's nudity. | ||
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| *[[Adam and Eve (Dürer)]] | *[[Adam and Eve (Dürer)]] | ||
| + | *''[[Adam and Eve (1924) Marcel Duchamp and Bronja Perlmutter]]'' | ||
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Revision as of 19:40, 30 August 2010
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Adam and Eve were used by early Renaissance artists as a theme to represent female and male nudes. Later, the nudity was objected to by more modest elements, and fig leaves were added to the older pictures and sculptures, covering their genitals (see Depictions of nudity). The choice of the fig was a result of Mediterranean traditions identifying the unnamed Tree of the Knowledge of Good and Evil as a fig tree, and since fig leaves were actually mentioned in Genesis as being used to cover Adam and Eve's nudity.
Treating the concept of Adam and Eve as the historical truth introduces some logical dilemmas. One such dilemma is whether they should be depicted with navels (The Omphalos theory). Since they were created fully grown, and did not develop in a uterus, they would not have been connected to an umbilical chord as were all born humans. Paintings without navels looked unnatural and some artists obscure that area of their bodies, sometimes by depicting them covering up that area of their body with their hand or some other intervening object.
Nudity
Lucas Cranach the Elder depicts a nude Eve on a panel painting housed at the Musées Royaux des Beaux-Arts. Hans Baldung Grien has a very sensual rendition of the subject. The rendition of the Van Eycks in the Ghent Altarpiece is purely in the alternative convention of gothic body shape.
See also
