索尼（Giuseppe Sogni, 1795-1874）是十九世紀義大利米蘭地區知名的歷史畫與肖像畫家，並曾擔任布雷拉藝術學院（Brera Academy）的院長。現藏於奇美博物館的【亞當與夏娃】是索尼1838年烏伯多皇宮（Uboldo Palazzo）委託之作，後來更成為皇室接待奧國斐迪南國王（Ferdinand, 1793-1875）宴會廳的裝飾掛畫之一。

此作描繪亞當與夏娃受到撒旦誘惑吃下分別善惡樹之果實後，躲藏神的情境。畫面以藏身在善惡樹下的亞當與夏娃為中軸，在右半部的前、中、後景中分別可見成對的狗、獅子與馬，左半部則有兔子與人面蛇身的撒旦。畫中採正向坐姿的亞當將右手置於額前遮蔽來自左上方的神聖之光，而側身依偎其懷的夏娃則以驚惶的眼神望向光源。兩人軀體形成一穩固三角構圖，並在光線照射下得以凸顯。畫面右半部的動物皆呈前後交錯安排，呼應亞當與夏娃的姿勢，為畫面帶來重複的韻律。左方人面蛇身撒旦臉上的竊笑不但與亞當、夏娃驚恐的神情形成對比，牠在兩人背後一路纏繞善惡樹主幹與偏枝的蛇身也在陰影中隱約將兩人框圈在其身形範圍之內，點出誘惑陷害之心。

畫中不論是動物皮毛、樹葉紋路、人物皮膚，皆刻畫細膩，栩栩如生。亞當與夏娃為畫中淺亮顏色密集處，而陰影中結實累累的善惡樹與草地則呈暗綠色調，與象徵神的光源形成強烈明暗對比，加強神揭露兩人罪行時刻的戲劇張力。(徐鈺涵)

Giuseppe Sogni (1795-1874) was a well-known Italian historical and portrait artist from Milan. He also held the position of president of the Brera Academy. The piece Adam and Eve was a work commissioned by the Uboldo Palazzo to Sogni in 1838. Later it became one of the decorative works of the banquet hall the royal family used for hosting King Ferdinand (1793-1875).

The painting depicts Adam and Eve hiding from God after they gave in to the temptation of Satan and ate from the Tree of the knowledge of good and evil. The center of the scene shows Adam and Eve hiding beneath the Tree of Knowledge. Pairs of dogs, lions and horses can be discerned in the foreground, center, and background of the right edge. At the left side there is a rabbit and a human-headed, serpent-bodied Satan. In the scene, Adam is sitting with his right hand over his brow blocking the Holy Light shining from the top left of the picture. Eve is cowering against Adam and looking at the source of the light in fear. The torsos of the two characters form a sturdy triangular form, which is emphasized under the Holy Light. The animals on the right of the image are placed in alternating positions in a way that imitates the positioning of Adam and Eve, bringing a sense of repetitious patterning to the picture. The human-headed serpent Satan has a sneer on his face, which forms a contrast to the fearful looks on Adam and Eve's faces. His serpent body is curled around the trunk of the Tree of Knowledge and around the branches behind Adam and Eve, forming a dim frame around the two and representing his hurtful intentions.

In the painting, whether the fur of the animals, the texture of the leaves, or the skin of the subjects, all are drawn with careful details giving the scene a sense of vitality. Adam and Eve are the focus of the illuminated area that forms a contrast to the otherwise dark scene. The Tree of Knowledge is heavily-laden with fruit and is depicted in a dark green shade, creating a powerful contrast to the light symbolizing God, as well as adding theatrical flair to the crime committed by the couple. (Yu Han HSU)