classical pose complete with stylized hair emanates power, poise andconfidence. The reality is that the otherworldly nature of David is derived directlyfrom its anatomically beautiful form: each makes the complete packagepossible.
not contained to brilliance in stone, Michelangelo’spaintings are also groundbreaking, and perhaps none is more admired than theseries of scenes he completed mostly alone on the ceiling of the Sistine Chapelin the Vatican. The Creation of Adam, 1508-1512 is arguably the most familiar of these; Adam stretches out comfortably in paradise, his right leg outstretched andleft bent at the knee and left arm reaching to touch God. God, surrounded byvarious angels, is almost horizontal with full, grey beard and all, and his right armis stretched towards Adam; their index fingers almost meet in a loving gesture.Greek like bodies encompassed by pastel-like colors of green, blue, grey and reddetail a scene, which is so full of religious and inspirational force. The sharpcontrasts of Leonardo are replaced by gentler stylistic choices, but the idiom of these contemporaries is clearly and victoriously defined.
Referred to by Dr. Ross Bressler as “a sponge”, Raphael had the uncannyability to imitate whatever he wanted. Changing and progressing continually, hisstyle is rather difficult to quickly nail down. One of my personal favorite paintingsis his treatment of St. George Fighting the Dragon of 1504-06. Very light and
http://images.google.com/imgres?imgurl=http://www.wga.hu/art/m/michelan/3sistina/1genesis/6adam/06_3ce6.jpg&imgref url=http://www.wga.hu/html/m/michelan/3sistina/1genesis/6adam/06_3ce6.html&h=670&w=1303&sz=116&tbnid=AAV8r8jpvVwJ:&tbnh=77&tbnw=150&prev=/images%3Fq%3Dcreation%2Bof%2Badam%26hl%3Den%26lr %3D&start=1&sa=X&oi=images&ct=image&cd=1