Closely connected to another version in Mainz, the two works were first attributed to Hans Baldung Grien by Von Terey (1894) and Max Friedländer, an attribution now accepted by most other art critics.[3][4] It faithfully follows Dürer's works, with a quicker and drier style and some additional details such as a deer beside Adam and birds symbolising the four humours and other topics. The nudes' idealised beauty is linked to their bodies' fragility in an interpretation of the vanitas theme.
References
Gloria Fossi, Uffizi, Giunti, Firenze 2004. ISBN88-09-03675-1
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