Inventory number
Rubens, Peter Paul. (Copy of Titian, Vecellio di Gregorio)
Adam and Eve
1628 - 1629
238 cm x 184,5 cm
On display
Colección Real (Palacio de El Pardo, Madrid, 1674, nº51; Palacio de El Pardo, sala donde se abre para su majestad, 1701, nº 51; Palacio de El Pardo, Pieza Vigesima nona, 1747, nº51 y 127; Palacio Nuevo, Madrid, antecámara de S. M., 1772, nº 51; Palacio Nuevo, antecámara, 1794, nº 10; Palacio Nuevo, antecámara, 1814-1818, nº 10; Museo Real de Pinturas a la muerte de Fernando VII, Madrid, Sala Reservada, 1834, nº63)

Eve accepts the forbidden fruit from the hands of the devil, who is half child and half serpent. Sitting on the roots of the tree of Good and Bad, Adam tries to stop her.

This is a copy of a painting on the same subject that Titian made for Felipe II (P00429). Rubens saw it during his trip to Spain in 1628 and 1629. In keeping with his own concept of painting, he made significant changes with respect to the original, including the use of a more intense palette. He changed Adam's position and gave him more muscles, basing his figure directly on the sculpture of the Belvedere Torso at the Vatican Museum. The inclusion of a parrot, not present in Titian's work, as a symbol of Good, strengthens the idea of Redemption, which is contrasted with the fox that alludes to Evil and Lust.

This work belonged to Rubens until his death, and appeared at the El Pardo Palace years later.

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