In Adam and Eve (Tintoretto), how is the First version discussed?
For the Scuola della Trinità, Tintoretto painted four or five pictures depicting subjects taken from the Book of Genesis, having reference to the creation of the world; of which two are preserved untouched, and now hang on either side of Titian's Assumption in the Academy at Venice. These are The Death of Abel and Adam and Eve, of which William Roscoe Osler writes:The concentration of effect ... is marvellous without being violent. The influence of the antique sculptures is apparent in the figures, accompanied with a great knowledge of nature, and of the build of the human form. The landscapes also are most striking, not being allied to a great extent with the Titianesque landscape, but rather heralding a new poetic departure in art, such as probably had a deep effect upon Rubens, Rembrandt, and Turner. Traces may still be perceived in them of Schiavone's influence.
John Ruskin expresses his admiration in terms of enthusiasm:Next, look on the right and left of it [Titian's Assumption], at the two dark pictures over the doors (63, 25). Darkness visible, with flashes of lightning through it. The thunder-cloud upon us, rent with fire. Those are Tintorets; finest possible Tintorets; best possible examples of what, in absolute power of painting is the supremest work, so far as I know, in all the world.
The second picture, representing Eve in the act of offering the apple to Adam, has been admired for the beauty of the flesh painting.
Turner apple Adam and Eve The Death of Abel Tintoretto Adam John Ruskin Abel Scuola della Trinità Rubens Titianesque Rembrandt Titian antique sculptures Book of Genesis Schiavone Eve Assumption