Poelenburch, Cornelis van – De verdrijving uit het paradijs, 1646 Rijksmuseum: part 1

The composition presents a narrative scene unfolding within a landscape bathed in soft light. In the foreground, two figures, presumably male and female, are depicted in motion, their bodies rendered with considerable anatomical detail. The man appears to be recoiling or shielding his face, while the woman turns towards him, her posture suggesting both concern and perhaps a degree of resignation. Their nudity is presented without overt sensuality; rather, it emphasizes their vulnerability and expulsion from an idyllic state.
Behind them stretches a pastoral landscape – a gently sloping meadow populated with sheep, framed by dense foliage and culminating in distant mountains under a pale sky. This backdrop establishes a sense of vastness and distance, reinforcing the feeling of loss inherent to the narrative. The vegetation is rendered with a muted palette, contributing to an overall atmosphere of melancholy.
Dominating the upper left quadrant of the canvas is a winged figure, presumably divine, accompanied by smaller cherubic forms. He gestures forward with one hand, while holding what appears to be a staff or torch in the other. This figure’s placement and gesture are crucial; they direct the viewers attention towards the direction of exile, signifying judgment and consequence. The presence of the putti adds an element of pathos and reinforces the solemnity of the event.
The artist employs a restrained color scheme – primarily earth tones punctuated by touches of blue in the sky and highlights on the figures’ skin. This palette contributes to the paintings somber mood, underscoring themes of loss, transgression, and separation. The use of light is particularly noteworthy; it illuminates the central figures while leaving much of the landscape in shadow, further emphasizing their isolation.
Subtly, the composition suggests a transition – a movement from innocence to experience, from paradise to an uncertain future. The gesture of the male figure, his averted gaze, implies shame and regret, while the woman’s posture hints at acceptance or perhaps even empathy. The landscape itself serves as a visual metaphor for the vastness of the world that now lies before them – a world fraught with challenges and devoid of the comforts of their former existence.