Masaccio, Expulsion of Adam and Eve from Eden, Brancacci Chapel, c. 1424-1427발음듣기
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Masaccio, Expulsion of Adam and Eve from Eden, Brancacci Chapel, c. 1424-1427
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(piano playing) Dr. Zucker: In the Brancacci Chapel in Santa Maria del Carmine just to the left of Masaccio's great painting the Tribute of Money is another painting by Masaccio, the Expulsion from Eden.발음듣기
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Dr. Harris: The fresco's in this Chapel all tell the story of the life of St. Peter except for the expulsion.발음듣기
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They've eaten the forbidden fruit from the tree of knowledge and God has discovered that transgression and has banished them from Eden and we see a foreshortened Angel.발음듣기
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This is the moment from which everything else comes in terms of Catholic understanding of man's destiny.발음듣기
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Dr. Harris: It makes Christ's coming necessary to redeem us, but it also makes necessary the Church that St. Peter found.발음듣기
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I love the architecture on the extreme left, the gate of Heaven itself, that they've just left, reminds me of the indebtedness that Masaccio has to people like Giotto in the previous century where architecture is sometimes used, simply as a foil, as a kind of stage set.발음듣기
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This whole Chapel was fairly recently cleaned and for a very long time there was a vine that covered up his genitals.발음듣기
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But we've been restored to the original nudity that Masaccio gave us, which is absolutely era appropriate, but he's not covering his body, he's covering his face; it's a kind of internal sense of guilt.발음듣기
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Whereas Eve seems to have been taken directly from the Ancient classical prototype of the modest Venus.발음듣기
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She's shown in a beautiful contrapposto covering herself, but it's her shame which seems more physical, but because her face is exposed we can see the real pain that she expresses through it.발음듣기
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Dr. Harris: You said beautiful contrapposto, but I think about contrapposto as a standing, relaxed pose and these figures are in motion.발음듣기
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Dr. Harris: Masaccio is first artist in a very long time to attempt to paint the human body naturalistically.발음듣기
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Dr. Harris: Yeah, Adam's arms are a little bit too short, Eve's left arm is a little bit too long.발음듣기
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Given that Masaccio's the first artist to really attempt this naturalism in 1,000 years, some of that is to be forgiven.발음듣기
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There is a physicality here, there's a sense of weight and there's a sense of musculature that I can't remember seeing in earlier painting.발음듣기
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He's so interested in modeling because that's what makes the forms appear three dimensional and also that foreshortened Angel is helping to create a sense of space for the figures to exist in, even though, as you pointed out, that architecture is more symbolic than real.발음듣기
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You can see that Adam was painted separately from Eve and you can see the darker blue and back of Adam that really highlight those different patches of plaster.발음듣기
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Dr. Harris: By giornata you mean that the different days, the different parts of the fresco were painted in?발음듣기
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Dr. Harris: This is buon fresco, which means that it was painted onto wet plaster and so an artist could only do a small section at a time because the plaster would otherwise dry.발음듣기
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Dr. Zucker: Other changes that have taken place in the painting that I think are worth noting are that the sword and the rays of light that are emanating from Eden are now black, but that's oxidized silver and it would have been very shiny initially.발음듣기
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I think it's important also to note that the Expulsion is the first scene that we look at as we enter into this Chapel, they literally walk into this story.발음듣기
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