Adam And Eve Chased From Paradise, Giuseppe Cesari Known As Cavalier d'Arpino (1568-1640)

Roman painter of the early seventeenth century
Workshop of Giuseppe Cesari known as the Cavalier of Arpino (1568 - 1640)
Adam and Eve driven out of Earthly Paradise

Oil on canvas, cm. 102 x 130
framed cm. 109 x 135
More photographic details onhttps://www.antichitacastelbarco.it/it/prodotto/adamo-ed-eva-cacciati-dal-paradiso-terrestre

The work portrays a famous scene from the Old Testament from the book of Genesis, or the expulsion of Adam and Eve from the Garden of Eden after breaking the only prohibition imposed by God (Genesis 3,23-24): the two the protagonists are depicted naked, with an extraordinary realism and full of expressiveness, painful and heartbroken by the weight of remorse for the sin committed.

The angel with the fiery sword looming above them is that, following the will of God, he is ordering them to move away from the Earthly Paradise, of which you can see a glimpse behind them, characterized by a clear sky, streams, flowery meadows and luxuriant vegetation, and with the finger indicates the opposite direction, dark, parched and bare.

The painting, executed in the early decades of the 17th century, is attributed to an author who trained in the late Mannerist period, probably in Rome. In particular, the outlined firm build of the figures, especially that of Adam, as well as their typology, as well as the characters of the landscape, find interesting points of comparison with the works coming from the workshop of Giuseppe Cesari, better known as Cavalier d'Arpino ( Arpino 1568 - Rome 1640).

Typical exponent of the late Mannerist taste, Cesari was very active in decorative enterprises in Naples and Rome, where he also took care of training young painters who later became famous, such as Guido Reni and Caravaggio. A plausible attribution could be Bernardino Cesari (Rome, 1623-1703), the younger son of Giuseppe, a great collaborator and then continuator of the shop.

This fascinating biblical theme was addressed by Cesari during his thriving career in numerous versions: the first is in a painting kept in the Louvre Museum and dated to 1597. Link http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=18812
Two other autographed versions are instead those of the Savoy of Turin and the Patrizi Collection, which flow chronologically between 1606 and 1609.