This work represents a neat separation from the past International Gothic style; Masolino's serene composures are also left behind, and the two biblical progenitors are portrayed in dark desperation, weighed down under the angel's stern sight, who, with his unsheathed sword, forcibly expels them, with such a tension never seen before in painting. Gestures are eloquent enough: on exiting Paradise's Gates, from where some divine rays are shooting forward, Adam covers his face in desperation and guilt; Eve covers her nudity with shame and cries out, with a pained face. The bodies' dynamism, especially Adam's, gives an unprecedented passion to the figures, firmly planted on ground and projecting shadows from the violent light modelling them.
This artwork represents a significant shift away from the previous International Gothic style; Masolino's serene compositions are also set aside, and the two biblical figures are depicted in intense desperation, weighed down by the angel's unyielding scrutiny, who, with his drawn sword, forcibly expels them, showcasing an unprecedented level of tension. The gestures convey a sense of urgency: as they depart from Paradise's Gates, where divine light emanates, Adam covers his face in anguish and shame; Eve covers her nudity with embarrassment and cries out, with a visibly distressed expression.