In a later woodcut, Dürer returns to Eden with a different approach to the human figure. Not only do the figures have less idealized, Classical musculature and more lumps than in Dürer's 1504 engraving of Adam and Eve, they also display more realistic emotion.

Heller says it shows a great deal of influence from the Italian art of the day. "There are certain 15th-century Italian frescos and works by Masaccio and others that Dürer must have looked at, because [Dürer's Adam and Eve show] that same posture and the same very intense, yet not over-done regret and remorse and pain as they're exiting Eden."

The only indication of the story line is the apple hanging over Adam's head.