Michelangelo’s Creation of Adam

History of Michelangelo Buonarroti’s “Creation of Adam” c.1508–1512

The Creation of Adam (Italian: Creazione di Adamo) is a fresco painting by Italian artist Michelangelo, which forms part of the Sistine Chapel’s ceiling, painted c. 1508–1512. It illustrates the Biblical creation narrative from the Book of Genesis in which God gives life to Adam, the first man. The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis.

The image of the near-touching hands of God and Adam has become iconic of humanity. The painting has been reproduced in countless imitations and parodies. Michelangelo’s Creation of Adam is one of the most replicated religious paintings of all time.

See more at Wikipedia

Session 1

In order to paint a reproduction of the painting/fresco by Michelangelo called the Creation of Adam, I used the best quality photo I could find which was from a book produced by the Sistine Chapel and given to me by a friend who visited there. I drew a grid over a copy of the photo and noticed that the work is twice as long as it is wide so I purchased a canvas that is 24” x 48”. The grid method was initiated by the old masters centuries ago as a way to match what they saw behind the grid in front of the subject to the same proportion grid drawn on the canvas. This is the end of session 1.

Session 2

I taped sheets of paper together to completely cover the canvas with the tape on the underside so as not to interfere with the pencil drawing. I then drew a grid on the paper to match the grid over the photo as shown in session 1. I will work on half of the composition first and leave the left half (the figure of Adam) until later.

I use a “fine” grade drawing pencil so the drawing will be a series of light lines that will be easier to cover by the oil paint. This is my final drawing on the paper. This is the end of session 2.

Session 3

Using the paper drawing, I start cutting away at the drawing and trace the outlines on the canvas below. The bottom picture shows the completed drawing and by using the same pencil as on the paper drawing, the lines on the canvas are also very light…..just dark enough to use as a guide when starting the outline with oil paint. I will do the same with the figure of Adam in order to complete the drawing phase before starting the oil paint outline. This is the end of session 3.

Session 4

After completing the drawing of Adam I traced the figure onto the canvas using the same method as I did with the other half of the composition, the figure of God and those around him. Using the same fine lead pencil to keep the lines light, they are still dark enough to provide a guide to the shapes of the figures. The drawing phase is now complete as next I will begin the painting process. This is the end of session 4.

Session 5

In accordance with the technique of many of the old masters, I begin the painting process by scrubbing in “ dead” color. Not meant to be the same as the final coloring, the dead colors will be the basic desired colors that will need further refinement. I used ultramarine blue with medium gray added to form the shape furthest behind the Adam figure. The land mass on which the figure is reclining is permanent green with med. gray and burnt umber. I used the photo of the original work as a guide when applying the colors. In the past I would outline figures in a medium to dark gray to enhance the form but in this case painted the background right up to the edges of the figures. The background behind the God figure was painted with alizarin crimson and medium gray. As with the Adam figure I painted the dark red color right up to the figures instead of outlining them. I will leave the sky background unpainted for now. Since this paint must thoroughly dry before working on it any further, I will start developing the figures in the next session. This is the end of session 5.

Session 6

This session is actually comprised of four separate sittings where the goal was to outline the figures with burnt umber to create a blueprint that establishes the shape, form, and perspective of the original. Keeping in mind that further adjustments will have to be made, in the next sitting I will concentrate on the color application that will create the faces and further develop the background. By letting this drawing completely dry before continuing, I will have a basic schematic to go by. This is the end of Session 6.

Session 7

After the sketch was thoroughly dry, I began to develop the figure of God. To better see the detail I taped a copy of the original to the canvas next to my copy. I began by re-emphasizing the form with burnt umber and ivory black. I mixed yellow ochre, vermillion, and white (an old master combination) to start modeling God’s face. For the lighter areas of flesh I add a little flake white to the lightest value of the flesh tone I mixed. After working Gods face I start using the flesh tone to start working the cherubs. With a little ivory black I go around the face and forms to help the figures stand out. More work will be necessary on Gods face and the other figures to better develop highlights and shadows. The hair and beard will need to be softened and highlights made to stand out in a later session. I also started to work Gods garment with cobalt violet, gray, and white. As with most of the painting so far, the garment will need better highlights and shadows…….the pigments I have applied in general will serve as “dead color”…….. a base that starts to establish shape and form with detail to be added later. I started painting Gods arm with the same flesh tones used so far……I added gray for shadow areas. I will continue working the figures in the same manner as in this session using the same pigments to create uniformity of color. This is the end of session 7.

Session 8

This session focused on the four figures in the upper middle. My goal was to further develop form by blocking in the figures paying attention to shadow and highlight areas. I paid most attention to the female figure in the upper center. It is said by art experts that she represents Eve. Once dry I will further work the figures as to refining form by adding darker shadows and lighter highlights. This is the end of Session 8.

Session 9

In this session I completed roughing in the right side of the painting. The goal so far is to define shape, form, and basic color values of the figures and background behind them. After examining the original I noticed that Michelangelo painted the two figures below God’s body in a lower color value when compared to the figures above. The next session will involve better defining the darks/shadows, middle tones, and highlights starting with the figures at the top and working down. In this session I worked on God’s face and hair by better defining the shadows and highlights. The colors I used for the two figures below God included yellow ochre, burnt umber, medium/dark gray, and dark flesh tone from yellow ochre and vermillion. This is the end of session 9.

Session 10

Since I am letting the right side of the painting dry thoroughly I decided to start roughing-in the head of Adam. I taped a detail pic of the original to the canvas to serve as my guide. Michelangelo used lighter skin tones for Adam so I switched from the old master formula of yellow ochre + vermillion + white to using flesh tones marketed by John Howard Sanden. The set of colors includes three separate flesh tones that I used to begin the head and neck area. I used burnt umber to better define the outline and mixed it with gray to tone it down a bit. Then I mixed a little of flesh tone #3, which is the darkest of the three, to which I added some gray. My goal in this session is to fill in the forms and create dead color that will provide a base to work from. I will be concerned with shadows and highlights later. This is the end of Session 10.

Session 11

The purpose of this session was to fill in Adam’s torso with a view to shape and form. As in session 10, I used the lighter flesh tones and a liberal use of medium and light gray in shadow areas. I spent a large portion of this session on the neck area as I saw corrections that I needed to make. Once this session dries I will redefine the outline and begin to develop the shadows around the limbs and in creases. So far I have left the background untouched. This is the end of session 11.

Session 12

I began by darkening some of the areas in the arm pits and left side of the neck. I also worked on the left side of the torso mainly on the shoulder. I added gray to the chest area and added some highlights when needed. I worked the chest down to the navel area.
Side note: some art critics have said that Michelangelo made an error showing a navel. Adam was not born of woman but created directly by God so he would not have a need for an umbilical cord. Haven’t done any research on the point yet but it would be an interesting topic to see if any old documents address this point.
As I worked on the left side of Adams torso I wanted to make sure that Adam was putting his weight on the left shoulder ( his right shoulder) so I closely followed the original as best I could to achieve that effect. I also modeled his hand on the left side mainly to get shape and position of the hand and fingers. When I was finished with the paint application I went over the entire area and smoothed it by carefully blending the edges with a soft sable fan brush. Before taking this picture I saw some areas that still needed blending so I used my fingers to do that. This is the end of session 12.

Session 13

I began by correcting areas of the Adam’s right arm and hand doing so by adding background color to help shape the outline. For the background I used “permanent green” with burnt umber, gray and a touch of white in the lighter areas. For the distant shape behind the green area I added a glaze of ultramarine blue and highlighted some areas by adding a little flake white. In the next session I will work the torso from the waist down. I touched up the cloud by adding light gray and a little white. I still have not started the sky as yet. This is the end of session 13.

Session 14

In this session I worked on Adam’s torso from the waist down. Using the original as my guide I rough in the legs with a view to better defining shape and form. I also defined the areas directly behind the figure with burnt umber and gray. Once this session dries I will go back and add flesh middle tones, darken shadows, and add highlights. It is time to go back and rework the right side. I have still left the sky untouched and plan on examining the original to see how Michelangelo painted his sky but I seem to remember faint cloud forms. This is the end of session 14.

Session 15

I began this session after being away for three weeks on vacation. My purpose was to concentrate on the figures around the God figure. This session was actually comprised of three separate sittings of about two hours each. I worked on the eight figures along the top of the composition with a view to correcting shape and developing highlights and shadows. I particularly gave attention to the figure immediately to God’s left (the viewer’s right) that is cradled in God’s left arm and has been said to represent Eve. Since it is difficult to discern the subtle changes I will be making I will not submit session 16 until all the figures within the enclosure and around the God figure are more fully finished. This is the end of session 15.

Session 16

This session was comprised of four separate sittings where I better defined the God figure, his garment, angels, and other figures around him. I also corrected the fingers on both hands that are about to touch. I defined the envelope around the figures and the gray/green streamer below it. During the next session I will work on adding the background which has so far gone untouched. Final sessions will be devoted to carefully correcting any figures or shapes that require it once the painting has completely dried. This is the end of session 16.

Session 17

This session was devoted to handling the front edge of the painting and the “profile” or depth of the canvas. Since the original work is on the ceiling of the Sistine Chapel I never planned to put the painting in a frame. The canvas measures 48” x 24” and has a depth or profile of 1 1/2” so I needed to decide how to finish the side (depth) of the canvas since this part of the canvas will be visable when it hangs on a wall. I also wanted to give the painting a finished look by having a border around the perimeter.

I began by measuring a distance of 1/8” from the edge and put small tick marks on the front of the canvas. I then applied scotch tape along the tick marks to create a nice, straight edge. I haven’t started the background yet so I thought it best to handle this step now because the tape would stick better to the unpainted surface that will ultimately be the background. Thus the tape should have better adhesion to the unfinished canvas. Also, this would avoid pulling up the oil paint layer had I already painted the background. Using a medium gray oil paint I painted the 1/8” border around the perimeter and then painted the side(depth) of the canvas. After the paint dried I removed the tape leaving the crisp border. See the first photo below. The end result is what I wanted…….a small border around the perimeter and a way to finish the side of the canvas. I am now ready to start the background painting process. This is the end of session 17.

Session 18

After closely examining the background in the original fresco, it looks as though Michelangelo used light gray mixed with white for the general area of the background and ultramarine blue with gray for the clouds above Adam’s head and left arm. The brush strokes are very subtle in the original and in attempting to duplicate that effect, it is difficult to see my addition of the background in this photo. This session was devoted to adding the background and after completely scrubbing it in, it is time to let it thoroughly dry. The goal of any subsequent sessions will be to correct any of my mistakes in shape or form, to enhance colors where possible, and to redefine facial features as compared to the original. Also, the area on which the Adam figure rests needs enhancement. This is the end of session 18.

Session 19

This session included my critique of the entire work to see items I needed to fix after closely examining the original. This is the list of items I worked on:

Change God’s robe behind his left leg to violet to match the upper robe
Outline Eve’s eyes
Reduce the eye of the cherub above God’s left shoulder
Better define the envelope around the entire group of figures
Add flesh highlights to both God and Adam
Add blue gray highlights to mountain behind Adam
Add green to hill and dark brown where necessary to hill behind Adam
Fix crease in Adam’s left leg
Fill in brown shadows on Adam’s forehead, cheek, and right eye
Redefine outline of both hands
Add shadows to Adam’s hair
Add white highlights in places of God’s hair and beard
Add white/gray to sky to hint at clouds
I glazed alizarin crimson over the flesh of the bottom three cherubs and to the two cherubs just to the left of God’s left hand to make recede into the background.

Now my painting is 99% complete but I will do one final critique before leaving it to dry for the varnish application. I took these pics after having performed the above corrections however they may be difficult to discern to the viewer without having the previous version of the painting to compare to. I have included a pic of the whole painting and one pic of each side of the painting below.

Session 20

Now that I have made the corrections cited in Session 19 and since the painting is dry, it is time to add a layer of varnish to the entire painting’s surface. The practice of varnishing paintings was standard procedure for many of the Old Masters. The reasons why they applied a varnish layer include:

The addition of varnish deepens or saturates the oil pigments. Such oil colors as burnt umber, ivory black, and alizarin crimson will dry to a matte finish and the varnish enriches them.
Varnish creates an even gloss or sheen over the entire surface.
Varnish protects the painted surface from dust, dirt, and other atmospheric effects and makes the surface easier to clean.

The top picture is the right side of the painting before applying a varnish layer. It is possible to see the uneven sheen created by those oil pigments that dry to a matte finish. Since it is difficult to see in photos, I took some close up shots at various stages of the varnishing process to show how the varnish brings out the colors. If you look carefully at pictures 2,3 and 4 you can see how the surface looks after the application of the varnish. I prefer Damar varnish as my varnish of choice and I believe Damar is also the choice of most artists. Notice in picture 2 below how the varnish made the colors stand out on the left side of the photo as the unvarnished right side has the matte finish.

In photo 3 the right side has been varnished dissecting the head of the woman purported to represent Eve. It is obvious how all the pigments are made to stand out especially the darker ones. In the bottom photo it is the left side that has received the varnish layer as it dissects Adam’s right leg. If you look closer some varnish has also been applied just beyond Adam’s right foot.

This completes the project and I will include a final photo of my copy after finishing the varnish layer.

Final Session

This is the final version of my copy of Michelangelo’s The Creation of Adam measuring 24 “ x 48 “.