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 work marks a clear divergence from the past International Gothic style; Masolino's tranquil scenes are also abandoned, and the two biblical ancestors are depicted in intense desperation, burdened by the angel's unyielding presence, who, with his unsheathed sword, forcibly expels them, exhibiting an unprecedented level of tension. The figures' gestures convey a sense of urgency: as they exit Paradise's Gates, from where divine light radiates, Adam covers his face in despair and shame; Eve covers her nudity with embarrassment and cries out, with a visibly distressed expression.