| dc.contributor.author | Barry, James (Irish painter, printmaker, and lithographer, 1741-1806, active in England) | |
| dc.coverage.spatial | National Gallery of Ireland | |
| dc.date.accessioned | 2008-02-02T10:32:16Z | |
| dc.date.available | 2008-02-02T10:32:16Z | |
| dc.date.copyright | 2001 | |
| dc.date.created | 1767-70 | |
| dc.date.issued | 2001 | |
| dc.identifier.citation | Nicola Figgis and Brendan Rooney, 'Irish Paintings in the National Gallery of Ireland', Vol 1, p 68-70, no NGI762 | en |
| dc.identifier.uri | http://hdl.handle.net/2262/13557 | |
| dc.description | 'Barry first mentioned this subject painting in a letter dated 23 May 1767 from Rome to Edmund Burke and made numerous other references to it throughout his stay in Italy. In writing that he wished to paint figures of 'absolute beauty', Barry clearly shows that Burke's treatise 'A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful' (published anonymously, London, 1757) was to the forefront of his mind. Several other sources of influence are seen here, the most obvious being the idealised forms of Hellenistic sculpture, which Barry studied in the form of Roman copies. The figure of Adam borrows elements from the torso of the Laocoon and the Belvedere Torso while various statues of Venus can be seen as the inspiration for Eve. The influence of Renaissance sculpture is also evident: the contrappostal pose of Adam, shows affinities with Michaelangelo's statue of David, which was itself influenced by classical sculpture. Here Barry also shows the impact of Neo-Classical theory in teh gravity of the subject matter and by adopting a smoothness of finish in the completion of the two figures. In his application of paint, Barry wrote of undertaking experiments to emulate the colour effects of Titian. The iconography was based on the ninth book of John Milton's 'Paradise Lost', and depicts the moment when Eve confesses to Adam that she has been tempted and has sinned.' (NGI, 70) | en |
| dc.format.extent | 347112 bytes | |
| dc.format.medium | oil paint (pigmented coating) | en |
| dc.format.mimetype | image/jpeg | |
| dc.language.iso | en | |
| dc.publisher | Nicola Figgis, Brendan Rooney and the National Gallery of Ireland | en |
| dc.subject | Adam and Eve | en |
| dc.subject.lcsh | Art, Irish | en |
| dc.subject.lcsh | Painting, Irish | en |
| dc.subject.lcsh | Forbidden fruit | en |
| dc.subject.lcsh | Eden in art | en |
| dc.subject.lcsh | Temptation Biblical teaching. | en |
| dc.subject.lcsh | Eve (Biblical figure) Art. | en |
| dc.subject.lcsh | Adam (Biblical figure) Art. | en |
| dc.subject.lcsh | Apples in art | en |
| dc.subject.lcsh | Serpents in art | en |
| dc.subject.lcsh | Serpents Religious aspects Christianity | en |
| dc.subject.lcsh | Painting Religious aspects. | en |
| dc.subject.lcsh | Devil in art | en |
| dc.subject.lcsh | Bible. O.T. Genesis Art. | en |
| dc.subject.lcsh | Burke, Edmund, 1729-1797. Philosophical enquiry into the origin of our ideas of the sublime and beautiful. | en |
| dc.subject.lcsh | Nude in art History 18th century. | en |
| dc.title | The Temptation of Adam | en |
| dc.type | Image | en |
| dc.contributor.role | artist | en |
| dc.coverage.culture | Irish | en |
| dc.format.extentdimensions | 199.8 cm x 152.9 cm | |
| dc.format.support | canvas | en |
| dc.subject.period | 18th century | |
| dc.type.work | painting | en |
