In Crossing of the Red Sea (Bronzino), how is the Composition discussed?
The large fresco is an example of Maniera art and is found on the south wall of the chapel. It is framed by fictive architectural elements including columns and an arch that provide the illusion the scene is contained in a lunette. The spandrels in the upper corners boast medallions and draperies to complete the illusion. The damage to the lower left corner is due to moisture.The fresco depicts three different scenes from the Old Testament. The three figures in the center foreground and three figures in the left foreground represent the Hebrew nation preparing to leave Egypt (Exodus 12:33–39). In the background, the Hebrews are shown safely completing their crossing of the Red Sea as Moses (shown in blue) gestures for the waters to return and drown the pursuing Egyptians (Exodus 14:21–29). In the right foreground, Moses, near the end of his life, is depicted laying his hand on Joshua and commissioning him to lead the Israelites (Numbers 27:18–23).Bronzino's arrangement of the Hebrews in the foreground demonstrates his mannerist penchant for appropriating classical sculptural subjects in his works. The seated nude on the right is shown in the classic reclining pose of a river god. The semi-nude youth on the left with his back to the viewer contorts his body to grip the arm of a seated female while holding a bundle of unleavened bread on his head. The same youth can be seen reaching the far shore in the background of the fresco. Bronzino's study of a standing nude in the Uffizi was thought to be the work of Bronzino's teacher, Pontormo, until the 20th century. It is clearly a preparatory chalk drawing for the standing figure with the bundle on his head. His exaggerated thrust of the hip and raised arm are common mannerist motifs and one leg crossed behind the other is a signature pose of Bronzino's. The figure in the center leaning on a rock is shown with his legs similarly crossed. The standing figure's stance appears to be inspired by a Roman copy of a Greek bronze statue known as the Idolino. It was unearthed in a 1530 excavation at the Villa Imperiale of Pesaro where Bronzino was working at the time. Bronzino has replaced the gentle contrapposto of the ancient sculpture with a more artificial pose that is decorative and stylish.Pontormo passed on his inclination to imitate Michelangelo to his student Bronzino. This can clearly be seen by examining the outstretched arm of Moses as he prepares to lay his hand on the youthful Joshua. The gesture is taken directly from The Creation of Adam in the Sistine Chapel. Reflecting on these idealized yet emotionally detached figures taking their inspiration from previous work, art historian Arthur McComb wrote:
It is hard to believe that we are here in a company of harassed Jews fleeing from slavery. This is rather a society of the elect, of youthful antique gods and fair Renaissance ladies. The sea to which these creatures of a marble formality have come is icy and still, and the arctic impression is borne out by color of a boreal coolness.
The damage to the fresco has obliterated much of the scene portraying the Hebrews preparing to leave Egypt. An anonymous engraving based on Bronzino's work that was published by Hieronymus Cock shortly after the fresco was completed includes the missing details. If these details accurately represent Bronzino's work, the scene depicts the standing youth encouraging two nursing mothers to rise up and begin the exodus. At his feet sit another child and bundles of supplies for the journey.
Based on this evidence, art historian Janet Cox-Rearick has suggested that the ornate silver urn and gold basin in the foreground represent the Egyptian treasure the Hebrews took with them as they hastily prepared to leave.
Sistine Chapel fictive Villa Imperiale of Pesaro The Creation of Adam Uffizi Michelangelo Moses contrapposto spandrel Pontormo left fresco Hebrews Idolino Hebrew nation Joshua Hieronymus Cock Bronzino Old Testament lunette Janet Cox-Rearick Maniera