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Albrecht Dürer, Adam and Eve

Met curator Freyda Spira on advertising in Albrecht Dürer’s Adam and Eve, 1504.

Throughout his life, Dürer was in thrall to the idea that the perfect human form corresponded to a system of proportion and measurements and could be generated by using such a system. Near the end of his life, he wrote several books codifying his theories, including the Underweysung der Messung (Manual of measurement), published in 1525, and Vier Bücher von menschlichen Proportion (Four books of human proportion), published in 1528 just after his death. Dürer's fascination with ideal form is manifest in Adam and Eve. The first man and woman are shown in nearly symmetrical idealized poses: each with the weight on one leg, the other leg bent, and each with one arm angled slightly upward from the elbow and somewhat away from the body. The figure of Adam is reminiscent of the Hellenistic Apollo Belvedere, excavated in Italy late in the fifteenth century. The first engravings of the sculpture were not made until well after 1504, but Dürer must have seen a drawing of it. Dürer was a complete master of engraving by 1504: human and snake skin, animal fur, and tree bark and leaves are rendered distinctively. The branch Adam holds is of the mountain ash, the Tree of Life, while the fig, of which Eve has broken off a branch, is from the forbidden Tree of Knowledge. Four of the animals represent the medieval idea of the four temperaments: the cat is choleric, the rabbit sanguine, the ox phlegmatic, and the elk melancholic.

View this work on metmuseum.org.

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Created by The Metropolitan Museum of Art.

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  • leaf orange style avatar for user Jeff Kelman
    Is it possible to correct "mistakes" as one works on an engraving...not that the master Albrecht Durer would have made mistakes, but for mere mortals like myself?
    (7 votes)
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    • leaf orange style avatar for user irozenberg2
      I believe not, since the artist is scratching a metal plate. If for instance, he had made a scratch across the center of one of the figures (notice there are very few marks across the highlights within the figures, or at least they are much lighter) he would not be able to remove that scratch from the plate and that part would appear black.

      In your work, perhaps you could try filling scratches that you did not intend to make with an epoxy of some kind?
      (8 votes)
  • male robot johnny style avatar for user Chuck Punk
    The curator mentions that Albrecht Dürer was the first to really study nature, but I have always been taught that that was Leonardo Da Vinci?
    (2 votes)
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  • blobby green style avatar for user woodbriar3
    Very interesting. I never thought of art or print making in this way. Very beautiful.
    Was it common during this time, to advertise ones artistic ability in this way?
    (2 votes)
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  • orange juice squid orange style avatar for user Grant Gleisner
    I have always wondered what the standard protocol is for handling art. At , someone is bending and touching the print barehanded. In other videos, I have seen people only touching art with white gloves. I presume that the gloves are meant to keep the oils from our skin or soap/lotion residue from getting onto the artwork. What is the rationale for touching this work barehanded? Perhaps it is a modern reproduction, but do art curators have rules about touching art?
    (1 vote)
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  • blobby green style avatar for user Brett
    Adam and Eve are depicted with navels (belly buttons) although they were not the result of childbirth with an umbilical cord. Was that a conscious decision by Durer due to known theological discussion on the topic?
    (1 vote)
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  • aqualine ultimate style avatar for user Jorge Daniel Garcia
    How do artists advertise their art today?
    (0 votes)
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  • primosaur ultimate style avatar for user James Mangrum
    Why does Eve have such male face features?
    (0 votes)
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Video transcript

When you first see this print you immediately recognize it as Adam and Eve. They’re set within a sort of Eden, although instead of a garden, Albrecht Dürer made it a thick forest set out against cliffs, sort of an alpine landscape. Dürer was a very conscientious artist, and he was one of the first to really study nature: the details of the human body, of trees, of animals. Eve is reaching for the Tree of Knowledge, which is a fig tree, actually, which the snake is wound around. You get caught up in all of the details: the ibex teetering on the top of the cliff, the parrot, the ox and the cat and the mouse and the rabbit. And as you follow Adam’s arm clutching onto an ash tree, you see that there’s a large plaque in Latin, which means, “Albrecht Dürer from Nuremberg made this in 1504.” And you begin to understand that Dürer’s not really telling you the story of Adam and Eve, but this is an advertisement that Dürer has created to show off his skills as an artist. When we come into the Museum we see it in a beautiful mat, but when you see it outside of the frame, you begin to understand what it was originally, which was a commodity. Dürer employed merchants to sell this far and wide across Europe, and it made its way even to India. Unlike a painting, it wasn’t a static thing, it moved in society. And Dürer really wanted to announce to people across cultures and boundaries that he was a German artist of the Renaissance and this is what he could do. I once tried to make an engraving and I couldn’t even make one line. It takes an incredible amount of strength and skill. There are thousands and thousands of lines that go into these dark areas. He spent four years working on this print, four years trying to work out how each segment of the body was portioned out in exact mathematic formula. He makes Adam this strapping figure based on the Apollo Belvedere, part of a Renaissance vocabulary. Eve is more of a medieval ideal of women who have childbearing hips and small breasts, and this is his tradition that he’s still working out. Prints interest me because they circulate in society. This was the first print I had seen in the flesh, and for me it was an aha moment that art works through time. I can look at this and Albrecht Dürer through the centuries is speaking to me and telling me how to read his own image.