Eve, Serpent and Death. Eve, the Serpent and Death is a painting by the German Renaissance artist Hans Baldung, housed in the National Gallery of Canada, Ottawa.
The date of the painting is debated, with proposals ranging from the early 1510s to between 1525 and 1530. Its four main elements are the biblical Eve, a male figure personifying Death and generally likened to Adam, a serpent, and a tree trunk.
The painting was in the collection of British politician William Angerstein before being auctioned in 1875 at Christie's as a work of Lucas Cranach the Elder, though in fact the work offers a great contrast to Cranach's many Adam and Eves, from which only the pose of Eve is borrowed. Almost a century later, it was determined to be a Baldung work by the Scottish branch of Sotheby's, where it was auctioned in 1969.
The buyer sold it to the National Gallery of Canada of Ottawa in 1972, where it has since been cleaned and restored. Baldung treated the Fall in a number of woodcuts and paintings, which he signifies by the apple and the bite of the serpent; his iconography is often as original and arresting as in this work.
In this panel, the bodies are grand in scale and fill essentially the entire space, and pale foreground colors are used against a dark background. The main elements are intertwined; the serpent is coiled around the tree trunk and also around Death, who he holds to the tree. Death's right a
The date of the painting is debated, with proposals ranging from the early 1510s to between 1525 and 1530. Its four main elements are the biblical Eve, a male figure personifying Death and generally likened to Adam, a serpent, and a tree trunk.
The painting was in the collection of British politician William Angerstein before being auctioned in 1875 at Christie's as a work of Lucas Cranach the Elder, though in fact the work offers a great contrast to Cranach's many Adam and Eves, from which only the pose of Eve is borrowed. Almost a century later, it was determined to be a Baldung work by the Scottish branch of Sotheby's, where it was auctioned in 1969.
The buyer sold it to the National Gallery of Canada of Ottawa in 1972, where it has since been cleaned and restored. Baldung treated the Fall in a number of woodcuts and paintings, which he signifies by the apple and the bite of the serpent; his iconography is often as original and arresting as in this work.
In this panel, the bodies are grand in scale and fill essentially the entire space, and pale foreground colors are used against a dark background. The main elements are intertwined; the serpent is coiled around the tree trunk and also around Death, who he holds to the tree. Death's right a
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