The Sistine Chapel tells a story to anyone who enters its space, physically or virtually. It is a treasure trove of frescoes, a home to hundreds of painted figures who are all part of a Biblical narrative, occupying its walls and ceiling.
If we turn our gaze to Adam, we will notice he is in a reclining pose on what appears to be a grassy hillside. Adam is fully nude compared to God and he too has a muscular figure. He does not have a beard and is visibly younger.
There is a harmony of color in this composition because of the similar skin tones throughout. The backdrop of colors like green, blue, and red creates a contrasting effect and a different color value compared to the lighter value of the figures.
We can see an implied texture for the drapery and clothing, which appear light and diaphanous. The figures are all painted with smooth skin textures, and some also have more plump flesh while others are more muscularly taught.
There is a compositional balance created in God’s and Adam’s positioning. Their placements divide the composition into two parts. Adam’s shape has often been described as “concave” and God’s shape as “convex”.