Albrecht Dürer had just come back from his second trip to Italy, head full of Bellini's color and Mantegna's anatomy, when he painted "Eve." The problem? His German audience wanted altarpieces and woodcuts, not classical nudes standing against black voids like ancient sculptures brought to life. He painted her anyway. That porcelain skin against total darkness. The blonde hair falling past her shoulders. She holds the apple almost casually - not reaching for sin but already holding it, decision made. The serpent coils around the tree with its mouth open, its head almost grotesquely human, but Eve isn't looking at it. She's looking at you. Every strand of hair, every leaf on that modesty branch, the golden scales, the lioness dozing at her feet, the grey parrot on the trunk, the partridge below - paradise catalogued with a printmaker's obsessive eye. Among the earliest monumental nudes in Northern European painting. Life-size, unapologetic, staring back. The Uffizi has her now, surrounded by Italian masters - and she holds her own. Quelle: meisterdrucke.com
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