Titian
Adam and Eve, c.1550, Oil on canvas, 240 x 186 cm, Museo Nacional del Prado, Madrid; P000429, Copyright of the image Museo Nacional del Prado / Art Resource, NY
An Ominous Push-and-Pull
Commentary by Michael Glover
Titian brings touches of drama and sensuality to this scene of the serpent’s gift of the fruit. The serpent itself has been anthropomorphized to such an extent that he looks like the sort of charming, puff-cheeked putto who might adorn the upper corner of an altarpiece. He is also actively involved in his own treachery in so far as he reaches down from the Tree of the Knowledge of Good and Evil and hands Eve what is here shown as an apple. The scene is dark and ominous—see how clouds seem to be gathering as if expressive of divine displeasure. The tree itself is massive, and stands centrally, with the two figures of Adam and Eve organized with a pleasing degree of visual symmetry to left and to right of it.
Titian emphasizes the fleshly appeal of Adam and Eve. The seated Adam is handsome and ruggedly built, muscular, with a tousling of black hair. Eve stands and faces us. Her naked body is splashed with light from goodness knows where in order to enable the viewer to admire and revel in it all the more. Their genital coverings are substantial and lush, and remind us more generally of fecundity.
Adam himself plays a dramatic role. In a departure from the text—which has him happily accede to the fruit—he pushes back against Eve, as if trying to prevent her from doing the baleful deed; as if mindful of its universal consequences for humankind for evermore.
And just to the left of Eve’s right heel, there is a fox peeking out—a fox, an animal both unclean and—as in the fables of Aesop—wily.