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“The Fall of Man,” or “Adam and Eve,” as interpreted by Rubens, differs in several respects from Titian’s original. Rubens permits himself to remove and add motifs and figures – most1 notably the red parrot, which is a character in its own right; unlike the fox curled at Eve’s feet, the parrot reacts to the scene unfolding before it. The most striking difference, however, lies in what happens to Eve in each version. In Titian’s painting, she seems somewhat absent, almost mechanical, as though entering a dreamlike state, while Adam is only beginning to perceive what is happening. In Rubens’s version, Eve is already entranced: her half-open mouth – almost a smile – her shining eyes, Adam’s fearful expression, and the way his body seems ready to forcefully shake her awake all confirm that she has already succumbed to rapture. During his second trip to Spain, Rubens copied several of Titian’s works, and of those recorded, “Adam and Eve” is perhaps the only one that, in some sense,...More
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“The Fall of Man,” or “Adam and Eve,” as interpreted by Rubens, differs in several respects from Titian’s original. Rubens permits himself to remove and add motifs and figures – most1 notably the red parrot, which is a character in its own right; unlike the fox curled at Eve’s feet, the parrot reacts to the scene unfolding before it. The most striking difference, however, lies in what happens to Eve in each version. In Titian’s painting, she seems somewhat absent, almost mechanical, as though entering a dreamlike state, while Adam is only beginning to perceive what is happening. In Rubens’s version, Eve is already entranced: her half-open mouth – almost a smile – her shining eyes, Adam’s fearful expression, and the way his body seems ready to forcefully shake her awake all confirm that she has already succumbed to rapture. During his second trip to Spain, Rubens copied several of Titian’s works, and of those recorded, “Adam and Eve” is perhaps the only one that, in some sense,...More
