Adam and Eve

Suzanne Valadon • Painting, 1909, 162×131 cm
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About the artwork
Art form: Painting
Subject and objects: Nude, Religious scene
Style of art: Expressionism
Technique: Oil
Materials: Canvas
Date of creation: 1909
Size: 162×131 cm
Content 18+
Artwork in collection: My collection Tatyana Somova
Artwork in selections: 7 selections

Description of the artwork «Adam and Eve»

The painting "Adam and Eve" by Suzanne Valadon marks a new stage in her work. This is a turn from drawing to painting, and the flowering of her talent in general, which later biographers will call her golden years.

And also "Adam and Eve" is a loud and unequivocal statement about her new love: under the guise of the first people, Suzanne Valadon portrayed herself and Andre Utter. A friend of her son, 21 years younger than the artist herself, he became the main love of her life.
This nude is very different from the numerous nude images, for which Valadon was repeatedly reproached, they say, women deliberately disfigured. The painting "Adam and Eve" is a different story. The woman here is full of vitality, beautiful, slender and very happy. I just want to say that she is "like in paradise", but, in fact, why "how"?

The biblical line of the first people is usually shown either as a blissful stay in the Garden of Eden, or at the time of the Fall (the mood, respectively, "oh, what will happen"), or already expulsion from paradise, when the heroes understand that they will definitely not be good in the near future shines. Suzanne Valadon's Eve is blissful, while Adam looks slightly tense. On the one hand, we can recognize Valadon's favorite trick whendepicting a couple or group of people - as a rule, they seem to be disconnected, often looking in different directions. Although in this case, this is not the main reason. Rather, Suzanne Valadon's Adam tensed because so many other Adams depicted long before him tensed.

They seem to have a presentiment: oh, not everything is smooth with this apple! There will definitely be some kind of "setup", any of these men could say (1, 2, 3, 4, 5), use such expressions (and they feared, as we know, not in vain).

Author: Alena Grosheva

Read also:Touches for the portrait: to understand the scandalous Suzanne Valadon

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