A critical analysis of the paintings of the Tower of Babel directly suggest the perspective of the both the translation and labor that refer to the utopian spirit of social critique as well as to the resistance to the authority. The art paintings appear to embody an expectation of a multiplicity of tongues as a result of the harsh judgment from the Supreme Being. The Tower of Babel may not be a realized vision. It can be understood in an angle where the Utopian ideal was to be discovered. The Utopian discourse was presented in a manner that allowed the 15th century society to be skeptical of the movements of its compass bearers (Carmody 27).
The fine art representing the Tower of Babel is very useful to observers since it offers a kind of a problem-solving capacity that can enable one to think through the emerging political, social, and cultural transformations. The Tower of Babel paintings clearly portrays the translation of the Biblical story into a formal picture speaking orate. It depicts a ziggurat-like tower reaching advancing towards heaven; yet at the same instance, the people involved in the construction seem to be doing something more by creating an event, a mythical event, full of consequences (Lendering 39).
Varieties of sources have been outsourced together to give more weight to these arts. There exist many contractions depicted within them, and it is so surprising that the same sources have raised many interpretations and translations. The argument here is that within this multiplicity of labors and tongues of translation, a bewildering kind of personal freedom can be said to arise out of the Babel’s ruins. The Tower of Babel’s representation of the dissimilarity between the dithering hubris of a king and the hard work of his subjects entails the translating or the re-authoring of the initial story. This can as well imply a challenging of the authority of both the original and the subsequent significance of both the processes of translation in any particular social transformation.
Bruegel made the walls of the tower in the year 1553 to 1568. The second Tower of Babel, a large panel painting, of 114 x 155 cm, is kept in the Kunsthistorisches Museum Vienna, signed, and dated by the artist in 1563. Mostly considered to be commissioned by the Nichalaes Jong lick the later outcome of this Vienna painting was the paving of the way into Emperor Rudolph II. The Emperor assumingly purchased the smaller third Tower Babel, 59.9 x 74.6 cm; it is neither dated not signed. It has, however, been attributed to a variety of dates from 1563 and 1568. Presently, it is housed in the museum Boymans Van Beuningen Rotterdam (Narusevicius 30)
The Genesis description of the Tower of Babel is stereotypically seen as the source of Bruegel’s paintings. It is argued that Nimrod, the leader of Shem, settled together with his people in the land of Shinar (Carmody, 102). According to Genesis 11:1-4, “Throughout the earth men spoke the same language,...