Compositionally, there are stark differences between the works. Dürer’s piece has a nearly symmetrical composition, with Adam and Eve balancing one another on either side of the Tree of Knowledge of Good and Evil, with the serpent, holding the fruit, occupying the center of the frame. Rembrandt’s displays an entirely asymmetrical composition, with Adam standing to the left, Eve standing in the middle, the Tree growing up the right side of the frame, and the serpent partially visible climbing the tree and hovering above the figures, illuminated from the left. This shows that Dürer’s is a narrative of the event, whereas Rembrandt’s is an attempt at a more realistic depiction.

Although both are lighted from the left hand side, the lighting of the pieces is very different in effect. Dürer’s characters seem Godlike, illuminated by a light that accentuates their perfect musculature is stark, and casts a distinct shadow. Rembrandt’s light is far more natural. The light is softer, and appears as true sunlight. Soft shadows are cast across the bodies of Adam and Eve, as well as onto the ground. Rembrandt’s piece seems lit as if by the sun; Dürer’s is lit as if by a spotlight. Rembrandt’s characters are far more involved in their world. Their bodies cast shadows, affecting the environment around them. This symbolizes their newfound ability to perform both good and evil deeds. Dürer’s Adam and Eve neglect to cast visible shadows around them, not being true participants in their environment. Dürer creates the form of his figures through a careful use of crosshatching.

The artists’ use of line further differentiates the work and emphasizes the theme of idealism versus realism. Rembrandt’s lines are rougher and more loosely etched, and Dürer’s seem much more formal, in a painstaking attempt to capture perfection. Rembrandt’s is less formal, and more expressionistic. His piece invites the viewer into the emotion of making the choice, capturing the turmoil and intrigue. Dürer’s figures look detached and naïve, still ignorant of the outcome of their decision.

Stylistically, these are two entirely different works. The hair presents a good example of the realism shown in Rembrandt’s piece- Adam and Eve’s hair appears matted and tangled- and stylization shown in Dürer’s- the hair is smooth, divided into even sections, and trailing in the wind. The expression on Rembrandt’s figures is sly and greedy, as if contemplating the consequences of the first sin. Dürer’s expressions are serene and Godlike, with both faces seen in profile in a Romantic, idealized fashion. This can also be seen in the slender, muscular bodies. Both depictions are biased- Dürer portrays Adam and Eve as the closest humans to God, whereas Rembrandt depicts the act of the first sin in an evil light. The imperfect appearance of Rembrandt’s characters allows us to relate better to them, as it would be difficult for most of us to relate to angelic people, posing as if on stage.

Even Dürer’s serpent seems Godlike, wrapped perfectly around the trunk of the tree, bending down to hand the fruit to Eve. It appears to pose no physical threat. Rembrandt’s, conversely, appears like more of a monster, hiding in the shadowy top corner of the frame, as if preparing to pounce on the couple once they indulge. Dürer’s is a stylized depiction, appearing innocent. Rembrandt’s serpent is more animalistic. It has sharp claws, the secrecy of being partially hidden, and a position superior to Adam and Eve.

The one hundred years between Dürer’s piece and Rembrandt’s saw a great deal of social, political, and artistic upheaval. The invention of the printing press in 1445 led to a diffusion of knowledge and ideas. The culture moved from Christian symbolism to a humanistic culture. These artworks are a direct representation of these changes. Despite their differences, both artworks are successes, but in very different ways. Dürer succeeds in portraying Adam and Eve in the last moments of their fleeting perfect world, and Rembrandt succeeds in showing the couple in their emerging ability to choose between right and wrong. This is a subtle variation, which makes a world of difference.

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