07 Adan y Eva
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Presentación para ayudar a la lectura del texto bíblico de Gn 2-3
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07 Adan y Eva
- 1. CREACIÓN: 1,1-2,4a(P) DESCENDENCIA DE ADÁN: C.5 (P) ADÁN Y EVA CAÍN Y ABEL DESCENDENCIA DE CAÍN (2,4b-4,26)
- 2. Adán y Eva
- 13. Catedral Monreale c. 1174
- 15. San Marcos de Venecia 1215-25
- 22. La región de edinu
- 24. Libro de Horas Carlos V
- 28. Bertram van Minden 1379-83
- 33. Monreale
- 63. 1. Punto de partida del autor
- 64. La realidad del mal en el mundo
- 74. 3. ¿Qué pretende enseñar?
Notas do Editor
- Dios tiene en la mano izquierda la costilla de Adán
- Giusto de Menabuoi
- Monasterio de Sigena (Huesca)
- Durero 1504. Adam and Eve are depicted in the moment before the Fall. Eve conceals one apple in her left hand and is about to accept another from Satan who appears in the guise of a snake. This predatory theme is echoed by the cat, tensely crouched to pounce on the mouse between Adam's feet. The parrot, symbol of wisdom, turns its gaze from the impending debacle. Dürer represented this final moment of man's untarnished state with perfect human figures of mathematically determined proportions. Adam is posed like the Apollo Belvedere, the classical sculpture representing the male physical ideal, and Eve is modeled on classical prototypes of Venus. Naturalism and whimsy carry the narrative to an audience well versed in symbol and imagery and accustomed to their visual interpretation. The cat, elk, rabbit, and ox represent man's four temperaments, or humors, elements found in harmony in the perfectly balanced soul: choler or anger, melancholy, the sanguine or sensuous, and phlegmatic or apathetic. In the distance a goat teetering on a precipice provides a symbolic image of Adam and Eve's final moment of precarious equilibrium.
- Hugo van der Goes 1467-68
- Paolo Uccello 1432-36
- Tiziano. One of outstanding representatives of Renaissance Venetian painting of the 16th. century, Titian painted Adam and Eve in a late period of his career. He depicted the biblical subject in a conventional way: Adam and Eve's nude bodies stand by the Tree of the Knowledge of Good and Evil, where the serpent is twined, turned into an anthropomorth creature with a child head . The visible difference with the usual representations of this scene, prior to the sin, is Adam's refusal attitude towards the temptation coming from his companion. Titian designed his body in tension, trying to put her aside with his left arm. Some researchers point that probably this painting has been influenced from other works on the same subject; in particular, they hazard that Titian made a synthesis between Raphael's fresco for the Stanza della Segnatura in the Vatican and an engraving by Dürer. Different elements of Titian's Adam and Eve appear on one or another of these works, such as the disposition of the figures around the tree, the boy-snake winded on the trunk or the animal at Eve's feet. In 1628 Rubens copied Titian's painting adding a parrot to the composition which appeared in the German painter's engraving but not in the Venetian's canvas.
- Miguel Angel 1510
- Rembrandr 1638