Michelangelo: The Sistine Chapel Ceiling, The Prophet Joel
This prophet displays yet another step towards religious self-consciousness. The biblical prophets, from Ezekiel to Jeremiah (to be reviewed next) describe the full arch of intellectual and conceptual religious development, distancing themselves inversely from pure hedonistic physicality of the sibyls, in a quintessential, step by step, side effect . In Ezekiel we witness the readiness to partake in polemics and argue God’s word with rhetorical ardor and physical force — this is the stage of conquering; Joel dwells in an already familiar and occupied territory, and, as brute force becomes unnecessary, he widens the mental scope by focusing more on thought and letters, which his figure clearly denotes; Jeremiah embodies the tragedy of disillusionment, Solomon’s wisdom and personal moral devastation in the face of the destruction of Jerusalem. These prophets act out the rise and the fall of Judaism and Judaic tradition.
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This thesis can be further explored by examining the harmonies created in Joel and Jeremiah: the former scene displays a lateral spreading while the latter expands vertically. But I will not deprive Joel of the solo act he rightly deserves. There are several inner horizontal lines, formed by the scroll, the cloak folds on the knees and the belt; the hands of the boys in the back and the pedestal form the outer boundaries. To my mind, the purpose of this gradual stratification is twofold. On the one hand, it calms the atmosphere, preparing and softening the viewer to relate to the prophet’s tense expression, on the other hand it reflects the depths of Joel’s inquiry — we cannot see what is written in the scroll, but we may conceive it via a visual association. But perhaps I rush into the interpretation: these lines are rhythmically and visually entertaining without it, forming the basis that allows for it.
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Once again, the details in the background mirror, interact and comment on the events in the foreground. The head on the right of Joel replicates that of the prophet’s, only in smaller size, and age. It appears like a satellite attached to the main body by invisible forces. The figure on the left provides visual balance, and some additional insight on Joel’s activity — holding a book, he participates in a discussion with the other boy, who also reads — and debate is an essential component of communal studying. I think that the pinnacle of this scene is the face of the main figure. It captivates the viewer immediately, showing a very animated expression, it reveals wisdom, disdain and intense focus at once. It is said that the one person in the room that draws most attention to him or herself is someone with a lively face that reveals a constant thinking process. Michelangelo’s Joel might just have the edge to make viewers turn their heads. Although, this is quite a spacious room, and there is a strong competition.
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