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Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, [4] and even in the upper parts there is "a profound disturbance, tension and commotion ...
However, Bosch is innovative in that he describes hell not as a fantastical place but as a realistic world containing many elements from day-to-day human life. [43] Gibson compares this "Prince of Hell" to a figure in the 12th-century Irish religious text Vision of Tundale, who feeds on the souls of corrupt and lecherous clergy. [47]
On the left side of a Doom painting (that is, on Christ's right hand) is Heaven, whilst on the right (Christ's left) is Hell. At the top of the image Jesus Christ sits in glory with his right hand encouraging the saved upward, and his left hand pointing down to Hell for the damned.
The painting is a split landscape with the top portion being heaven and the bottom portion representing hell. Heaven is illustrated with light blues, vibrant colors, and surrounded by flying angels, while hell is much darker than heaven. This is illustrated through dark tones and demonic creatures to set the distinct difference between the two.
Here they represent, from top to bottom heaven, earth and hell. Heaven contains a traditional Great Deësis with clergy and laity; earth, in the mid-ground, is dominated by the figures of Archangel Michael and a personification of Death; while in the lower ground the damned fall into hell, where they are tortured and eaten by beasts. [33]
In opposition to this action, the facial expression of the angel is very calm and collected. This is a reference to the authority that heaven has over hell. These insights that Le Brun made from this painting were then used as the building blocks of French classicism, especially at the Academie royale de peinture et de sculpture.
In recent decades, scholars have come to view Bosch's vision as less fantastic, and accepted that his art reflects the orthodox religious belief systems of his age. [31] His depictions of sinful humanity and his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. Most writers ...
The painting consists of five concentric levels and eight triangular segments (spicchi). From top to bottom starting from the central false lantern surrounded by the 24 Elders of the Apocalypse, the painting is organised as follows: [7] The 24 Elders of the Apocalypse. There are three in each segment. Choirs of Angels.