3 THE IMPORTANCE OF THE ADAM AND EVE PIECE OF ART BY

3
THE IMPORTANCE OF THE ADAM AND EVE PIECE OF ART BY ALBRECHT DURER.
The spectacular engraving named Adam and Eve was made in 1504 by Albrecht Durer (Marilyn S. & Michael C., Art History,2018). The art piece consists of creatures encompassed by a “dark and dense” fig tree (Dr. Bonnie N., Albrecht Dürer, Adam and Eve), with Adam and Eve in the middle part. The creatures used in this engraving are symbolic and portend meanings within the beginning analogy prevailing in Genesis. However, unlike the Genesis, the art piece is expressing the ability of Germans in classical proportions. What important is, this engraving uses the concepts of canons of art history to define its position in the renaissance. The animals’ presence in the engraving each portended explicit meanings and was used to signify man’s four touches of humor within the complete environment setting [1], (Dr. Bonnie N., Albrecht Dürer, Adam and Eve). Thus, the Adam and Eve engraving was used to show the evolution of Germany, also the artists’ renaissance to capacities and proportions.
Description of the Adam and Eve art piece
This art piece is an extraordinary and spectacular piece of art that showed the mastery of Albrecht Durer in symbolism. Dominant elements in this engraving are the pictures of Adam and Eve, also the dark and significant fig tree that, upon its shadows, other animals with symbolic meanings. The four animals in the engraving of Durer portended the four forms of humor that exist in man’s endeavors[1]. The elk shows us the brooding nature of humans. Ox, brings in the calm nature of human beings. Furthermore, the rabbit suggests humans’ sanguinity and hope. Lastly, the cat stands for human’s anger and reacts when in danger. These four animals represent the four touches of humor that procced man’s interaction with the environment. However, the Adam and Eve does not relate to the happenings of genesis. Instead, it expressed the renaissance ability of the Germans[2]. One instance, Adam and Eve represent two different proportions, which reasserting Durer’s handle of Vitruvian skills. Thus, it can be suggested that Durer sacrificed the natural environment to achieve the ideals of art manipulated within the setting of Germany, also chased the steps of the Renaissance.
The research question
The research question is based on the artistic insight of the engraving but not its reflection on the genesis story of creation. German’s environment influenced Durer’s art, making him include diverse animals that defined the prevailing artistic techniques of Germany. Thus, this paper will try to explore how did Albrecht Durer utilize and sacrifice the natural setting to define the renaissance and the relationship between art and the environment?
Preliminary thesis statement.
The engraving of Adam and Eve sacrificed the environment to define the renaissance and the uniqueness of Durer in connecting the domain to art.
Significant points in proving the thesis.
Significant points that will help in proving the thesis are the animals present in the engraving and their meanings in the realm of art. Further, the posture of Adam and Eve will be vital in reasserting the relevance of the renaissance and the uniqueness of Germans in creating proportions. What also significant is the essence of the fig tree, which reasserts the stand of art in defining benign axioms in society according to Bible.
Durer’s reservations through the engraving of Adam and Eve justify the role of the environment in defining art. At a glance, the engraving can be related to the genesis story of creation. However, Durer created four animals in the art piece that have complicate meanings. Also, this are piece exhibits the brilliance of Germany in engaging proportion techniques. As necessary, the amount of art defines the renaissance and Durer’s intelligence to sacrifice the environment for illustrating the revival. Thus, this proposal entails the complex analysis of the Adam and Eve piece of art.
Footnote
[1] Rodrigues, Marcel Henrique. “Albrecht Dürer And The 16th Century Melancholy.” VISUAL REVIEW. International Visual Culture Review 7, no. 2 (2020): 96-98. https://journals.eagora.org/revVISUAL/article/view/2695
 
[2] Hille, Christiane. “Albrecht Dürer and the tailoring of the human form.” Res: Anthropology and Aesthetics 73, no. 1 (2020): 14-19. https://www.journals.uchicago.edu/doi/full/10.1086/711618?casa_token=fGNNuFvbIuUAAAAA:sXlXN-b_9Lv2nhh7KWQGbAJQLKqKIa7KMDnsoSVv64ZRejuIkHAUxTjOq8Ew0AmgZ4f_yndIHu9mPQo
 
References
Marilyn Stokstad & Michael Cothren, Art History. Volume II, 6th edition, P 699. Pearson Education, 2018.
Noble, Dr. Bonnie. “Albrecht Dürer, Adam and Eve.” Smarthistory. N.D. https://smarthistory.org/durer-adam-and-eve/.
Rodrigues, Marcel Henrique. “Albrecht Dürer And The 16th Century Melancholy.” VISUAL REVIEW. International Visual Culture Review 7, no. 2 (2020): 96-98. https://journals.eagora.org/revVISUAL/article/view/2695
Hille, Christiane. “Albrecht Dürer and the tailoring of the human form.” Res: Anthropology and Aesthetics 73, no. 1 (2020): 14-19. https://www.journals.uchicago.edu/doi/full/10.1086/711618?casa_token=fGNNuFvbIuUAAAAA:sXlXN-b_9Lv2nhh7KWQGbAJQLKqKIa7KMDnsoSVv64ZRejuIkHAUxTjOq8Ew0AmgZ4f_yndIHu9mPQo
Cartwright, Mark. “Vitruvius.” World History Encyclopedia, April 22, 2015. https://www.worldhistory.org/Vitruvius/.
Bibliography
Marilyn Stokstad & Michael Cothren, Art History. Volume II, 6th edition, P 699. Pearson Education, 2018.
Noble, Dr. Bonnie. “Albrecht Dürer, Adam and Eve.” Smarthistory. N.D. https://smarthistory.org/durer-adam-and-eve/.
Rodrigues, Marcel Henrique. “Albrecht Dürer And The 16th Century Melancholy.” VISUAL REVIEW. International Visual Culture Review 7, no. 2 (2020): 96-98. https://journals.eagora.org/revVISUAL/article/view/2695
Hille, Christiane. “Albrecht Dürer and the tailoring of the human form.” Res: Anthropology and Aesthetics 73, no. 1 (2020): 14-19. https://www.journals.uchicago.edu/doi/full/10.1086/711618?casa_token=fGNNuFvbIuUAAAAA:sXlXN-b_9Lv2nhh7KWQGbAJQLKqKIa7KMDnsoSVv64ZRejuIkHAUxTjOq8Ew0AmgZ4f_yndIHu9mPQo
Cartwright, Mark. “Vitruvius.” World History Encyclopedia, April 22, 2015. https://www.worldhistory.org/Vitruvius/.
Wisse, Jacob. “Albrecht Dürer(1471–1528).” Metmuseum.org, October 2002. https://www.metmuseum.org/toah/hd/durr/hd_durr.htm.
“Adam and Eve.” The Art Institute of Chicago. Prints and Drawings. https://www.artic.edu/artworks/51498/adam-and-eve.
“The Fig Tree.” The Fig Tree – BibleFocus.net. http://biblefocus.net/consider/v15FigTree/Adam_and_Eve_and_the_Fig_Leaf.html.
Kosinski, Rebekah. “How and Why Does Albrecht Durer’s Engraving, Adam and Eve, Reflect His Interest in Italian Renaissance Theories of Ideal Human Proportions? .” Rebekah Kosinski Gallery, April 24, 2018. https://www.rebekahkosinskigallery.com/blog/2018/4/22/how-and-why-does-albrecht-durers-engraving-adam-and-eve-reflect-his-interest-in-italian-renaissance-theories-of-ideal-human-proportions.