Fallen angel

This artwork depicts a fallen angel. We see structures in the background, possibly a portrayal of heaven as a kingdom. The fallen angel lies on what appears to be a continuation of heaven, though with a parallel horizon, confirming that the subject really has been transported to another world.

Fallen angels are the result of the war in heaven. A conflict in which God casts rebellious angels, including Satan, from heaven, to Earth. “Fallen angel” is a non-biblical term that, within the Abrahamic religions is used only in a Judeo-Christian context, as fallen angels don’t exist in Islam. For in Islam, angels can’t disobey God to begin with.

Seeing as how this is digital art presented in a fantasy category using photographic assembly, I think it fair to consider this in a post-modern context. The use of digital techniques, photographic assembly and the fact "fallen angel" is a non-biblical term (the concept of a being which is the personification of beauty etc. also exists outside of Judaism and Christianity) in my opinion disconnect the artwork from a strictly religious intention.

To me this is a secular piece that references the war in heaven as a metaphor for the relationship between good and evil. That is to say: the debate on morality as it has always existed in human civilisation.

I like to think that this piece raises questions about whether anything can be empirically good or evil.

By portraying a fallen angel as beautiful, MJ Da Luz reminds me of the association between fallen angels and the idea of embracing hedonism.

Furthermore, the features that distinguish this fallen angel from a messenger angel emphasises the aforementioned association. Angels are often portrayed as idealised women, though without breasts. (So as to retain the aspects of both beauty and androgyny/godliness.) To indicate a fallen angel, the being is often portrayed as daemonic, monstrous or even as an insect. Here however, the fallen angel remains beautiful, with the addition of breasts. A reminder of sexuality and therefore a reminder of hedonism. (The crow can also be interpreted as a symbol of hedonism within an artwork containing Judeo-Christian symbolism, as it was one of only three animals that mated whilst on Noah’s Ark.)

By portraying the fallen angel as equally beautiful to its messenger counterpart, even retaining the white wings generally considered a defining characteristic of the messenger angel - the artwork questions whether evil is what many commonly think it is.

In being excluded from heaven and sent to Earth, the fallen angels are punished. Yet in this artwork the earth to which the fallen angel has been condemned appears more pleasant than heaven. Whereas heaven’s landscape resembles a rocky tundra, Earth features flowers, water and birds.

Fallen angels are usually depicted as malicious, here the fallen angel is victimised, creating sympathy instead of disdain. The victimisation is accomplished by showing the fallen angel as scarred, cold and abandoned. More proof of the artwork’s regard of all morality as ambiguous.

Da Luz invites the questions of morality by using the same visual elements in her piece as the Neoclassical painters who depicted angels as feminine though lacking breasts used. The subject, though originally a stock photograph, is now strongly reminiscent of an angel created by the Neoclassical art movement because of the use of chiaroscuro and a realistic, though idealised depiction of the female form.
The non-expressive use of colour, using colour almost exclusively to emulate nature, is another Neoclassical element. The central composition and even the aspect ratio itself remind one of La Mort de Marat (by Jacques-Louis David).

All these traits show that the piece really does pose its questions by challenging the conventional and traditional depiction of messenger angels and fallen angels.

Depth is achieved by using repoussoir, in this case the contrasting scale of the fallen angel and the distant structures. The recession in space is also accomplished by the blurring of objects and general decrease in contrast towards the horizon.

I adore the ideas that I feel this piece represents. Portraying heaven as a foggy realm of the dead and Earth as vibrant and containing beauty. That whole Addams Family/Hannibal sense of embracing the dark, only to find it isn’t corrosive or ugly. That destruction and hedonism aren’t empty concepts. To me this piece shouts that the most beautiful things aren’t the exclusive property of the light. I love it.