(창 3:6)
여자가 그 나무를 본즉 먹음직도 하고 보암직도 하고 지혜롭게 할 만큼 탐스럽기도 한 나무인지라 여자가 그 열매를 따먹고 자기와 함께 있는 남편에게도 주매 그도 먹은지라
Jheronimus Bosch ca. 1450 – 1516
Haywayn triptych
oil on panel (135 × 200 cm) — c. 1516
This work is linked to Genesis 3:6
This tryptich shows sin and what it leads to, starting with the original sin and the expulsion from Paradise and ending in Hell. The beleaguered haywain with its large haystack in the central panel stands for greed, one of the seven major sins. Devils pull the car to the right, towards Hell.
The greed causes all sorts of trouble, including fighting and even murder, as the dead man in the middle shows. In front of him a quack physician is shown. The hay that stocks out of his pocket shows he must be doing very well with his deceptive business. The same goes for the monk on the right, whose belly shows a preference for worldly joys.
A number of important people ride behind the haywain. They seem happy with themselves and unaware of where they are heading.
Bosch probably tried to point the viewer to the risks of falling for sins and earthly temptations. He shows that sinners end in Hell - quite a warning.
On the outside of the tryptich a wayfarer is shown, a character Bosch often used for symbolising man's journey in life.
An almost identical tryptich is also kept in Spain, in the Escorial.
Jan Brueghel the Elder 1568 – 1625
Paradise and the Fall
oil on panel (74 × 115 cm) — c. 1615
Jan Brueghel the Elder biography
This work is linked to Genesis 3:6
The full title of this panel is The Earthly Paradise and the Fall of Adam and Eve. The snaked has pointed Eve to the delicious fruits in the tree of knowledge. Even though they were told not to eat the fruit, Eve gives an apple to Adam and takes one herself too.
The original sin is set in a luscious landscape with numerous different animals and birds.
Jan Brueghel here collaborated with Peter Paul Rubens. Rubens painted Adam and Eve and probably also the horse; Brueghel did the landscape.
Brueghel and Rubens both were popular artists whose work was highly respected. Brueghel was a talented painter of landscapes, and Rubens was particularly strong in human figures. The often worked together. The fruits of their collaboration were even more popular than their solo works, and they could not meet the demand for their joint works. Many lesser artists copied these paintings.
Michiel Coxcie 1499 – 1592
The Expulsion from Paradise
oil on panel (237 × 87 cm) — c. 1550
Kunsthistorisches Museum, Vienna
This work is linked to Genesis 3:24
| (창 3:24) | 이같이 하나님이 그 사람을 쫓아내시고 에덴 동산 동쪽에 그룹들과 두루 도는 불 칼을 두어 생명 나무의 길을 지키게 하시니라 |
An angel drives Adam and Eve out of Paradise with a sword, after they had eaten of the forbidden fruit. They now are ashamed of their nakedness and therefore try to cover themselves.
This is the right wing panel of a triptych. on the left panel, Coxcie showed The Fall. The central panel is lost.
Michiel Coxcie 1499 – 1592
The Fall
oil on panel (237 × 87 cm) — c. 1550
Kunsthistorisches Museum, Vienna
This work is linked to Genesis 3:6
The snake whispers in Eve's ear. She then takes a fruit from the tree.
Left panel of a triptych. The other wing, showing The Expulsion from Paradise, is also in Vienna. The central panel has been lost.
Coxcie probably made the panel in the mid of the 16th century.
Lucas Cranach the Elder 1472 – 1553
Adam and Eve (1509)
woodcarving (33 × 23 cm) — 1509
Lucas Cranach the Elder biography
This work is linked to Genesis 3:6
Please scroll down to read more information about this work.
This is Cranach's first depiction of the Fall of Man, the moment Adam and Eve eat the forbidden fruit. This woodcut still shows similarities to the famous etching Albrecht Dürer made a few years earlier. In later images Cranach would move away from the muscular renaissance figures Dürer used. Cranach's figures became tall and slim: 1526, 1528, 1533 and 1538.
Special about this depiction is that Adam is shown sitting.
The animals are shown in pairs of two. Among them is a quiet lion, emphasizing that this is Paradise where all species live together in peace.
The coats of arms hanging from the tree belong to Frederic III, Elector of Saxony. Cranach worked at his court. The note on the tree has the letters LC and a winged serpent, the symbol Frederic had granted to Cranach.
Lucas Cranach the Elder 1472 – 1553
Adam and Eve (1526)
oil on panel (117 × 80 cm) — 1526
Courtauld Institute of Art Gallery, London
Lucas Cranach the Elder biography
This work is linked to Genesis 3:6
Lucas Cranach the Elder 1472 – 1553
Adam and Eve (1528)
oil on panel (172 × 63 cm / 167 × 61 cm) — 1528
Galleria degli Uffizi, Florence
Lucas Cranach the Elder biography
This work is linked to Genesis 3:6
Lucas Cranach the Elder 1472 – 1553
Adam and Eve (1533)
oil on panel (47 × 35 cm) — 1533
Gemäldegalerie der Staatlichen Museen, Berlin
Lucas Cranach the Elder biography
This work is linked to Genesis 3:6
Lucas Cranach the Elder 1472 – 1553
Adam and Eve (1538)
oil on panel — 1538
Národní galerie, Sternberg Palace, Prague
Lucas Cranach the Elder biography
This work is linked to Genesis 3:6
In this panel Eve is shown as the instigator of the Fall. She almost pushes the apple into Adam's mouth, suggesting that woman is the origin of all evil. The cunning snake watches from the tree.
Lucas Cranach made several paintings on the Fall. on this site are versions from 1526, 1528 en 1533. We also have an article about the Fall.
Lucas Cranach the Elder 1472 – 1553
Paradise
oil on panel (81 × 114 cm) — 1530
Kunsthistorisches Museum, Vienna
Lucas Cranach the Elder biography
This work is linked to Genesis 2:25
| (창 2:24) | 이러므로 남자가 부모를 떠나 그의 아내와 합하여 둘이 한 몸을 이룰지로다 |
This panel shows a number of tableaux from Genesis.
Background, center: Eve is created out of one of Adam's ribs. on the foreground the two are addressed by God, who often made a stroll through the Garden.
Background, center-right: Eve has Adam take a bite from the forbidden fruit. Suddenly they are ashamed of their nudity, and hide behind a bush. But the archangel finds them and chases them out of the Garden (background left).
One might be tempted to think that Cranach used rubber dolls as models for Adam and Eve, as they don't seem to have any bones.
Gustave Doré 1832 – 1883
Adam and Eve Driven out of Eden
engraving — 1865
This work is linked to Genesis 3:24
| (창 3:24) | 이같이 하나님이 그 사람을 쫓아내시고 에덴 동산 동쪽에 그룹들과 두루 도는 불 칼을 두어 생명 나무의 길을 지키게 하시니라 |
As punishment for abusing his trust, God drives Adam and Eve from the Garden of Eden. Angels are given the task to guard the Tree of Life. Adam and Eve are on their own from now on.
This is one of the hundreds of Bible prints made by Doré.
Albrecht Dürer 1471 – 1528
Adam and Eve (1504)
copper-plate (25 × 19 cm) — 1504
This work is linked to Genesis 3:6
This engraving shows the Fall of Man: the moment Eve took the apple from the snake and gave it to Adam. Eating that fruit was explicitly forbidden to the couple, but they could not resist the temptation.
Dürer also shows the theory of the four temperaments. Every person has these four humours or personality types. In Paradise they were in perfect balance, but after the Fall the balance was lost. The temperaments are symbolized by animals:
Adam holds a branch of the mountain ash, the Tree of Life. Eve has taken a twig off the fig: the forbidden Tree of Knowledge. The parrot, well known as the chatting bird, probably symbolizes sin.
The sign reads "ALBRECHT DVRER NORICVS FACIEBAT 1504": Albrecht Dürer of Nuremberg made this in 1504.
Albrecht Dürer 1471 – 1528
Adam and Eve (1507)
oil on panel (209 × 81 cm (each panel)) — 1507
This work is linked to Genesis 3:6
Adam burns of desire, while Eve listens to the snake. The two are on the break of the Fall.
The sign says that Albrecht Dürer made the panels in 1507. He had just returned from a stay in Venice (1505-1507), where he studied the work of local painters such as Titian, Giorgione and Bellini.
In these panels he combined the exactitude of the German engraver with the Italian renaissance's knowledge of anatomy. They probably were the first life-size nudes in Northern European art.
Hans Holbein the Younger 1497/8 – 1543
Adam and Eve
oil on paper on panel (30 × 36 cm) — 1517
Kunstmuseum, Öffentliche Kunstsammlung, Basel
Hans Holbein the Younger biography
This work is linked to Genesis 3:12
Masaccio 1401 – 1428
Adam and Eve Expelled from Paradise
fresco (height: 255 cm) — 1424-25
Brancacci Chapel, Santa Maria del Carmine, Florence
This work is linked to Genesis 3:24
| (창 3:24) | 이같이 하나님이 그 사람을 쫓아내시고 에덴 동산 동쪽에 그룹들과 두루 도는 불 칼을 두어 생명 나무의 길을 지키게 하시니라 |
Please scroll down to read more information about this work.
The moment Adam and Eve are driven from Paradise, they realize that they are naked. This is the first time that they feel shame.
Prudish church officials probably were responsible for the fig leaves that were added to cover intimate parts. The leaves were removed when the painting was cleaned in 1988.
Eve appears to be carrying all the suffering in the world. Adam holds his hands before his eyes in order not to look at her.
This large fresco in the Brancacci Chapel surely must have impressed Masaccio's contemporaries.
Michelangelo Buonarroti 1475 – 1564
The Expulsion from Paradise
fresco — 1508-1512 Sistine Chapel, Vatican City
Michelangelo Buonarroti biography
This work is linked to Genesis 3:24
| (창 3:24) | 이같이 하나님이 그 사람을 쫓아내시고 에덴 동산 동쪽에 그룹들과 두루 도는 불 칼을 두어 생명 나무의 길을 지키게 하시니라 |
As punishment for their disobedience Adam and Eve are driven from Paradise. Another part of their punishment is their realization that they are naked.
Part of Michelangelo's Sistine Chapel.
Michelangelo Buonarroti 1475 – 1564
The Fall
fresco — 1508-1512
Michelangelo Buonarroti biography
This work is linked to Genesis 3:6
Eve takes the apple from the snake, who has told her that after eating the fruit she will be as God, knowing good and evil. The moment is known as the Fall.
The fresco is part of Michelangelo's decoration of the ceiling of the Sistine Chapel.
Rembrandt Harmensz. van Rijn 1606 – 1669
The Fall
pen drawing (16 × 12 cm) — 1638
Rembrandt Harmensz. van Rijn biography
This work is linked to Genesis 3:6
Adam and Eve are about to eat the forbidden fruit, the apple from the tree in the center of the garden. God had explicitly forbidden them to do so, but the subtil snake seduced Eve. Adam appears to be doubting between rebuking Eve and having a bite.
Rembrandt shows the snake as a dragon. Perhaps he did so to emphasize that at that point in time the animal was yet to be convicted to crawling on its belly for the rest of its existence.
The Fall is a rarely depicted subject in Rembrandt's work.
Titian 1487/90 – 1576
The Fall
oil on canvas (240 × 186 cm) — ca. 1565 - 1570
private collection
This work is linked to Genesis 3:6
Hugo van der Goes ca. 1440 – 1482
The Fall of Adam
oil on panel (32 × 22 cm) — after 1479
Kunsthistorisches Museum, Vienna
This work is linked to Genesis 3:6
This is the left panel of a diptych. The right panel shows the Lamentation. Perhaps Van der Goes intended to show two important moments in Christianity side by side. on the left the Fall of Man, when mankind appearantly was doomed to suffer and dwell on earth for ever. on the right the Death on the Cross, the moment salvation came within reach.
In the foreground the snake succeeds in letting Eve eat from the forbidden fruit.
Following the style of Van Eyck, Van der Goes paid much attention to detail. Every leaf on the trees in the parklike landscape appears to be painted individually.
'Art and the Bible > arts (그림설명)' 카테고리의 다른 글
| Flood (홍수) (0) | 2016.04.13 |
|---|---|
| Cain and Abel (카인과 아벨) (0) | 2016.04.12 |
| Creation (천지창조) (0) | 2016.04.10 |
| Death of the Baptist (세례요한의 죽음) (0) | 2016.04.09 |
| Judith (유디트) (0) | 2016.04.09 |