Adam and Eve

Prints and Drawings

1504

Albrecht Dürer
German, 1471-1528

Albrecht Dürer’s engraving Adam and Eve exhibits the extraordinary detail and tonal range of which he was capable. The print’s meticulously described landscape and its symbolism are derived from late medieval art, while Dürer’s fascination with the canons of classical proportion and anatomy (Adam is posed like the Apollo Belvedere, while Eve recalls classical statues of Venus) comes from his study of Italian Renaissance art.

Status: Currently Off View
Department: Prints and Drawings

Artist: Albrecht Dürer
Title: Adam and Eve
Place: Germany (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: Made 1504
Medium: Engraving in black on ivory laid paper
Inscriptions: The 'cartellino' in the tree on the left is inscribed with Dürer's monogram, the date 1504, and the words "Albertus Durer Noricus Faciebat."
Dimensions: Image: 25 × 19.3 cm (9 7/8 × 7 5/8 in.); Sheet: 25.3 × 19.6 cm (10 × 7 3/4 in.)
Credit Line: Clarence Buckingham Collection
Reference Number: 1944.614
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/51498/manifest.json

Joseph Meder, Dürer-Katalog (Vienna, 1932), pp. 69-70, no. 1.
Walter L. Strauss, The Intaglio Prints of Albrecht Dürer: Engravings, Etchings, and Drypoints (New York, 1976), pp. 128-132, no. 42.
Walter L. Strauss (ed.), The Illustrated Bartsch, Vol. 10 Sixteenth Century German Artists: Albrecht Dürer (New York, 1981), pp. 10-11, no. 1.
Bruce Thomas Boehrer, Parrot Culture (Philadelphia, 2004), p. 73, fig. 17.

The Art Institute of Chicago, May 1, 1987–February 9, 1989 (Allerton gallery 209A), no. cat.
The Art Institute of Chicago, “Altered and Adorned: Using Renaissance Prints in Daily Life,” April 30–July 10, 2011, p. 82, fig. 70 (ill.).

Pierre Mariette (1634-1716), Paris [his inscription, verso, Lugt 1789]. Sir Francis Seymour Haden (1818-1910), London [his stamp, verso, Lugt 1227]. John Pierpont Morgan (1837-1913), New York [Lugt 1509]. Sold by Emil Hirsch to the Art Institute, 1944.

Bartsch 1

Meder 1 IIa/IIId (finished plate)

Strauss 42

Schoch, Mende, & Scherbaum 39

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.