Creation, temptation and Fall · German Renaissance

Lucas Cranach the Elder declines Adam alone or with Eve in images where slender nudity, tree, snake and animals tell of innocence then the Fall.

Lucas Cranach the Elder, born in 1472 and died in 1553, is one of the great painters of the German Renaissance. He takes up the theme of Adam and Eve on numerous occasions, sometimes in two separate panels, sometimes gathered at the foot of the tree of knowledge. His figures can be recognized by their long and supple silhouettes, their elegant gestures and a nudity more stylized than anatomical. Adam can appear alone, holding a branch or an apple, but his attitude always refers to dialogue with Eve and the decisive moment of temptation. Adam can appear alone, holding a branch or an apple, but his attitude always refers to dialogue with Eve and the decisive moment of temptation. Adam can appear alone, holding a branch or an apple, but his attitude always refers to dialogue with Eve and the decisive moment of temptation. Adam can appear alone, holding a branch or an apple, but his attitude always refers to dialogue with Eve and the decisive moment of temptation. Adam can appear alone, holding a branch or an apple, but his attitude always refers to dialogue with Eve and the decisive moment of temptation. Adam can appear alone, holding a branch or an apple, but his attitude always wraps around the trunk, while the apple and hands close together concentrate the story of the Fall. Cranach thus combines biblical narration, courteous sensuality and naturalistic precision. The selection "Adam by Lucas Cranach the Elder" notably compares Adam and Eve - Lucas Cranach the Elder and Adam and Eve, the Fall of Man - Cranach. Its reading favors atmosphere.

In Cranach, the drama of the Fall lies in a few signs: an apple, a snake, two looks and the fragile elegance of the first human bodies.