The Expulsion from Paradise 1583 - 1613

Curator: This watercolor piece is "The Expulsion from Paradise," created by Daniel Fröschl between 1583 and 1613. Editor: It's surprisingly delicate for such a dramatic scene. The light tones give it almost an ethereal, otherworldly quality. Curator: The choice of watercolor emphasizes the fragility of Eden and the impermanence of Adam and Eve's state of grace. Fröschl worked primarily with watercolors, a medium often associated with detailed studies and preparatory sketches, so to see it used here suggests a very thoughtful approach to the narrative. Editor: Note the arrangement: Adam and Eve's poses, the direction of their gazes – everything seems to propel them towards the right edge of the frame, out of the painted paradise. It's as if their bodies are already reacting to a future beyond our view. Curator: And it begs the question: what kind of labor would their expulsion usher in? Were they prepared to manufacture, to harvest, to clothe themselves, to literally create a world from nothing? This painting presents the dawn of human innovation in the face of survival. Editor: See the angel, faintly rendered with spear in hand. This isn't the baroque drama of the Fall; it is a quiet resignation to their fate. Even the color of the skin is remarkably pale. I notice it does not attempt to seduce us with classical forms. Curator: True. There's a strong engagement with materiality in Fröschl's landscapes that we need to consider. It presents the world not as it should be, but as a place of constant, often difficult, labor. It is about the work needed to survive, the laboring needed outside the canvas after their expulsion. Editor: It brings the viewer into an immediate and powerful moment and holds us there, reflecting on their nakedness, which suggests not just the loss of innocence, but the start of a long walk. Curator: Absolutely. Through his materials and subtle compositional choices, Fröschl gives us not just an iconic scene but an invitation to ponder the foundations of human society. Editor: This reflection really reveals how complex, in a structural and visual sense, even a small painting like this can be.