This article re-examines one of the most famous images of the Renaissance, that of “Adam and Eve” as engraved in 1504 by “Albrecht Dürer.” The article discusses the influence on Dürer of the theories of “human proportion” outlined by the Roman architectural writer “Vitruvius.” These theories are seen as the context for the hitherto unexplained presence on Adam and Eve of “navels.” The article also examines the historical dilemma of how to represent the perfect human form of the biblical pair whilst reflecting the story of their birth.
|Journal||International Journal of Arts Theory and History|
|Early online date||15 Jul 2016|
|Publication status||Published - Jul 2017|
- Department of Architecture & Civil Engineering - Professor, Academic Visitor
- Centre for Advanced Studies in Architecture (CASA)
Person: Research & Teaching, Honorary / Visiting Staff