The drawing is set against a strong background of skyscrapers. In this case, this picture contrasts two conflicting themes: primitive sensuality and modern technology. This portrait about Adam and Eve can be described as heroic, adventurous, or fearless if we use the ancient vocabulary. When it comes to the modern vocabulary, it can be described as glamorous, dazzling and luxurious. In this sensual portrait, Tamara exemplifies the classic couple against an art deco-style and dark cityscape, whereby the nude images are shown as openly sensuality, desirable, and modern, yet clearly timeless. By showing open sensuality and physical beauty, Tamara stresses the ancient power of sensuality on humanity, all the way from the biblical days to the present-day reality.

Overshadowed by nude figures only, this Adam and Eve drawing signifies the massive shadow of state-of-the-art technology. You will see skyscrapers looming behind the intertwined bodies. This aspect casts the menacing shadow, and thus threatens to overwhelm, but never rather destroy the celestial moment of the paradise. As the 1920s life swept across the world, Tamara drew a scenic where this strong attitude of expansion hovers to suppress the natural beauty, both that of the sensual realm and physical world. In an Ashcan and neo-Cubist style, the structures characterise a modern garden of Eden where the only available trees for the couple (Adam and Eve) are modern, concrete and steel ones. In this problematic landscape, it would be wise if lovers distanced themselves from the stubbornness of modernity and get back to the classical sensuality. By doing so, lovers can genuinely maintain their mythological individualism and beauty, irrespective of the pressures of their ever-present industrial environment.

Glowing flesh tones and luscious curves are lively in the images of Adam and Eve. The curves and lines of the emblematic of the Art Deco create an attractive and athletic woman. Tamara has instilled Adam and Eve with a potent sensuality charge, where her biblical focus signalled a turn toward a cultural, historical narrative. The decline of innocence basically signified the depictions of sin's origin, which proved tangential to Lempicka's interpretation. Compressed in a cold landscape of the state-of-the-art technology and industrialisation and symbolised in the biblical sin, the lovers in this portrait are expressed in a standard, biological manner. The city maybe mechanic and modern, but the apple is organic, and it clearly shows a return to the natural environment. Basically, emotions are known to govern a kingdom where technology has no chance.