The Fall of Man
1616
Painter, Dutch, 1558 - 1617
In about 1600, Hendrick Goltzius, who was famous across Europe for his extraordinary abilities as a draftsman and printmaker, turned his talents to painting. In 1616 he painted this magnificent image of Adam and Eve reclining in the Garden of Eden like mythological lovers. By placing the almost life-size figures so close to the front of the picture plane, Goltzius entices the viewer to become emotionally engaged in this biblical narrative. Traditionally, images of the Fall emphasize shame, punishment, and the origins of humanity’s mortality, but Goltzius has chosen to present the event as a seduction based on physical attraction. Eve, with her back to the viewer, has already taken the first bite of the apple and turns with a knowing gaze toward Adam, who is utterly mesmerized by his companion.
Animals provide symbolical commentary. The serpent’s sweet female face represents the deceptiveness of appearances. The elephant in the distant field refers to the Christian virtues of piety, temperance, and chastity and serves as a symbolic contrast to Adam’s weakness of the flesh and infidelity to God. Goltzius included two goats, sometimes symbols for Eve, signifying a lack of chastity. The cat, representing the unjust judge, solemnly reminds viewers not to enjoy what they should condemn, lest they too cause more harm than good. Through these many symbolic references Goltzius suggests that humanity’s fall from grace is tied to Adam and Eve’s inability to restrain their physical appetites. The work exists within the classicist tradition, yet with this lavish painting Goltzius created an early example of what would be called the baroque style, a naturalistic manner of representation that depends upon the viewer’s empathetic response to fulfill its meaning.

West Building Main Floor, Gallery 45
Artwork overview
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Medium
oil on canvas
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Credit Line
-
Dimensions
overall: 104.5 x 138.4 cm (41 1/8 x 54 1/2 in.)
framed: 128.9 x 163.2 x 10.2 cm (50 3/4 x 64 1/4 x 4 in.) -
Accession
1996.34.1
More About this Artwork
Artwork history & notes
Provenance
Possibly Boudewijn de Man, Delft; (his sale, Delft, 15 March 1644, no. 2, as Een Adam ende Eva).[1] Possibly private collection, Amsterdam, 1671.[2] Probably (anonymous sale, Hubert and Dupuy at Salle des Grands-Augustins, Paris, 3 June 1774 and following days, no. 34, as Adam & Eve).[3] (Camillo Davico, Turin), before 1936; purchased 1936 by Prof. Mario Micheletti, Turin; acquired 1972 by private collection, Switzerland;[4] (sale, Christie, Manson & Woods, New York, 15 May 1996, no. 51); purchased by NGA.
[1] Owners through 1774, and the accompanying footnotes documenting the sources, are taken from the 1996 Christie's sale catalogue. Boudewijn de Man's ownership of "Een Adam ende Eva van Goltius [florins] 110" is documented in Gemeente Archief Delft, Notary archive no. 1861, deed no. 2035.
[2] Hendrik Houmes' annotation "een Adam en Eva op de cingel tot Amsterdam" is in a copy of van Mander's Het Schilder-Boeck, fol. 286 recto, preserved in the Rijksprentenkabinet, Amsterdam.
[3] Lot 34 in this sale is described as "Adam & Eve de Goltius, Pouc. de haut 40". It therefore measured approximately 100 centimeters in height (the width was not recorded), and it sold for 49.7 francs.
[4] The anonymous Swiss owner provided information about the ownership by Davico and Micheletti to Lawrence W. Nichols in a letter of 6 March 1984. See Lawrence Wells Nichols, "The Paintings of Hendrick Goltzius (1558-1617)," Ph.D. diss., Columbia University, 1990: 185.
Associated Names
Exhibition History
2000
Art for the Nation: Collecting for a New Century, National Gallery of Art, Washington, D.C., 2000-2001, unnumbered catalogue, repro.
2003
Hendrick Goltzius (1558-1617): Drawings, Prints and Paintings, Rijksmuseum, Amsterdam; The Metropolitan Museum of Art, New York; Toledo (Ohio) Museum of Art, 2003-2004, no. 111, repro.
Bibliography
1869
Possibly Biscarra, Carlo F. Accademia Albertina. Turin, 1869: no. 95, possibly as "copia da Giacomo Jordaens--Adamo ed Eva originale degli Uffizi".
1990
Nichols, Lawrence W. "The Paintings of Hendrick Goltzius (1558-1617)." Ph.D. dissertation, Columbia University, New York,1990: 128, 142-146, 185, no. A-2.
1996
Yapou, Yonna. "Dutch Acquisitions in Washington." Apollo 144, no. 418 (December 1996): 20, repro.
2000
National Gallery of Art. Art for the Nation: Collecting for a New Century. Exh. cat. National Gallery of Art, Washington, 2000: 22-23, color repro.
Filedt Kok, Jan Piet. Netherlandish art in the Rijksmuseum, 1600-1700. Netherlandish art in the Rijksmuseum 2. Zwolle, 2000: 72-73, fig. 12b.
2003
Leeflang, Huigen, and Ger Luijten. Hendrick Goltzius, 1558-1617: drawings, prints and paintings. Exh. cat. Rijksmuseum, Amsterdam; Metropolitan Museum of Art, New York; Toledo Museum of Art, Ohio. Zwolle, 2003: 302-303, cat. no. 111.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 216-217, no. 173, color repro
Filedt Kok, Jan Piet. "De wisselvallige reputatie van Hendrick Goltzius." Rijksmuseum Bulletin 52, no. 1 (2004): 52-53, fig. 29.
2011
Liedtke, Walter. "Frans Hals: Style and Substance." Metropolitan Museum of Art Bulletin 64, no. 1 (Summer 2011): 22, color fig. 21.
2013
Nichols, Lawrence W. The Paintings of Hendrick Goltzius, 1558-1617: A Monograph and Catalogue Raisonné. Doornspijk, 2013: 86-88, no. A-2, color pls. 53, 53a, 53b.
2014
Wheelock, Arthur K, Jr. "The Evolution of the Dutch Painting Collection." National Gallery of Art Bulletin no. 50 (Spring 2014): 2-19, repro.
Inscriptions
lower left in monogram: HG / AE 1616
Wikidata ID
Q20176961