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Oil Paintings
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Albrecht Durer
b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since. |
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Albrecht Durer
Adam and Eve
Adam and Eve, by Albrecht D??rer (1507).
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Albrecht Durer
Lobster 1495 Watercolour and gouache
263 x 355 mm Museum Boijmans Van Beuningen, Rotterdam The artist executed this watercolour during his first stay in Venice. The model was a living animal. Author: D?RER, Albrecht Title: Lobster , 1501-1550 , German Form: graphics , other
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Albrecht Durer
Portrait of a Man
1504 Oil on panel, 43 x 29 cm Museum of Fine Arts, Budapest D?rer's paintings include altarpieces, religious pictures and some outstanding portraits. Although he began by working in the German late Gothic tradition, D?rer was to introduce the Renaissance to Germany with his pure compositions in which the sure touch of the draughtsman is always evident. With his workshop and followers he marked out the lines of development of the new style for later years. This small picture - a portrait of a youth, painted in brilliant, warm colours - is sometimes ascribed to D?rer's pupils (Hans S?ss von Kulmbach or Hans Baldung Grien). Some scholars believe to recognize in the sitter D?rer's brother Andreas; however the smooth features and simple attire hardly provide enough clues for identifying the sitter. However, a silverpoint drawing by D?rer in the Albertina Collection in Vienna shows the same model in a similar pose, clearly indicated in the inscription as Endres D?rer, the painter's younger brother
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Albrecht Durer
The Great Courier
1495 Engraving, 100 x 113 mm Kupferstichkabinett, Dresden Earlier doubts have given way to the opinion that this is D?rer's first experimental engraving since a drawing was found at Danzig (presently Gdansk in Poland) which apparently served as the model for this subject. This drawing is inscribed by D?rer: This was drawn by Wolfgang Peuer in the year 1484. Nothing else is known about Peuer. He may have been an apprentice or an assistant in the goldsmith's shop of D?rer the Elder or in the workshop of D?rer's teacher, the painter Michael Wolgemut. The watermark of the paper used for the printing of this engraving, "Cardinals's Hat," was used by D?rer infrequently beginning in 1507. It was also used for the posthumous edition of D?rer's book Unterweisung der Messung (Instructions on measurement). The rarity of this print, as well as the watermark, suggests that the remaining impressions (Dresden, Melbourne, Paris aand Vienna) are posthumous.Artist:D?RER, Albrecht Title: The Great Courier Painted in 1501-1550 , German - - graphics : other
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Albrecht Durer
Young Woman Attacked by Death
1494 Engraving, 114 x 102 mm Staatliche Kunsthalle, Karlsruhe In the middle of the picture, on a turf bench, a wild wood gnome is attacking a young woman who defends herself angrily. While the lean, bony man is reminiscent of depictions of Death, the dead tree to the left of the turf bench is a symbol of vice and fated undoing. The original intention was to include a commentary, as is shown by the empty inscription cartouche above the scene. The most obvious interpretation is that made by Panofsky, who considered the small genre picture to be an allegory of death. This engraving is today generally accepted as being by D?rer, although it is reminiscent of the Housebook master in several respects. The thistle-like plant in the background, eryngium (sea holly), occurs in several of D?rer's early works. Its reputedly aphrodisiac qualities were, according to Pliny, known already to the ancient Greeks, and apparently fascinated the young D?rer. Perhaps the print is related to a Nuremberg news item of the year 1489, when a man was hanged for a number of attacks on women.Artist:D?RER, Albrecht Title: Young Woman Attacked by Death; or, The Ravisher Painted in 1501-1550 , German - - graphics : mythological
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Albrecht Durer
The Virgin with the Dragonfly
1495 Engraving, 240 x 186 mm Staatliche Museen, Berlin The first of D?rer's engravings bearing a monogram and the only one with this archaic version of it. The dragonfly has been variously identified as a grasshopper, a praying mantis and a butterfly. The composition is still primitive, although the severely foreshortened head of St Joseph - asleep and old to stress the notion of Mary's virginity - is in marked contrast to earlier still extant drawings by D?rer of this subject. The sheet is a direct successor to Martin Schongauer's work.Artist:D?RER, Albrecht Title: The Virgin with the Dragonfly Painted in 1501-1550 , German - - graphics : religious
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Albrecht Durer
The Ill-Assorted Couple or the Offer of Love
1495 Engraving, 151 x 139 mm Staatliche Museen, Berlin The style of the monogram indicates that it is one of D?rer's earliest engravings. The left-handedness of the subjects may be due to D?rer's use of an earlier model. Although a moralizing theme was read into the episode by some early commentator, D?rer probably intended to do no more than to portray purchased love.Artist:D?RER, Albrecht Title: The Ill-Assorted Couple or the Offer of Love Painted in 1501-1550 , German - - graphics : genre
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Albrecht Durer
Five Lansquenets and an Oriental on Horseback
1495 Engraving, 132 x 147 mm Metropolitan Museum of Art, New York In early commentaries the scene was described as a band of robbers attacking D?rer, or as William Tell. More recently it has been suggested that it had originally been intended as a scene beneath the Cross. Italian influence is manifest, but the grouping, particularly the position of the Oriental horseman, is a little awkward. Note the scotch plaid pattern of the Turk's saddlecloth.Artist:D?RER, Albrecht Title: Five Lansquenets and an Oriental on Horseback Painted in 1501-1550 , German - - graphics : other
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Albrecht Durer
St Jerome Penitent in the Wilderness
1496 Engraving, 324 x 228 mm Metropolitan Museum of Art, New York The stone in the saint's right hand serves to strike his chest. In this engraving too Italian influence is manifest. The scenery in the background, however, is based on sketches of quarries in the vicinity of Nuremberg). There is a certain lack of cohesion between the various parts of this unusually large plate. St Jerome, one of the most learned Fathers of the Church and author of the Vulgate, was born in 331 or 342 in Dalmatia of a well-to-do family. He died in 420. He was one of the favourite saints of D?rer's time, but, curiously, Martin Luther was less than fond of him. "I know of no one among the teachers whom I bear as much enmity as St Jerome, for he speaks only of fasting, virginity, etc."Artist:D?RER, Albrecht Title: St Jerome Penitent in the Wilderness Painted in 1501-1550 , German - - graphics : religious
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Albrecht Durer
The Penance of St John Chrysostom
1496 Engraving, 180 x 119 mm Metropolitan Museum of Art, New York St John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called "golden-mouthed" (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor's daughter, having lost her way one day, sought refuge in his cave. Upon her insistence he admitted her and they sinned. As penance he vowed to walk on all fours until forgiven. Years later the Empress gave birth to another child who refused baptism except from St John Chrysostom. Everyone despaired of finding him, when some hunters brought a strange wild animal to the festivities. The child, seeing the animal, said, "You are forgiven." St John stood up and shed his long moss-covered hair, and the Pope recognized him. The courtiers searched the desert and found the Emperor's daughter, who had also survived the ordeal in the wilderness. Mrs. Heaton, D?rer's first biographer in English, describes the scene very poignantly: "The princess is quite naked and more graceful in form and more beautiful of face than most of D?rer's female figures. There is a certain tenderness about her that makes us think that perhaps D?rer's sympathies were not entirely with the repentant saint who is seen in the background." The composition was perhaps suggested to D?rer by Jacopo de Barbari's engraving Cleopatra (or vice versa). Raphael must certainly have known this engraving since he borrowed the landscape and the castle, which appear the same in the Oxford drawing for Raphael's Pasadena Madonna and Child. D?rer's figures, however, were of no interest to Raphael.
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Albrecht Durer
The Deformed Landser Sow
1496 Engraving, 121 x 126 mm Staatliche Kunsthalle, Karlsruhe A deformed pig is standing on a rise above a river landscape. Its body is divided towards the back. Two front legs are sticking up out of its back. The Engraving was preceded by a leaflet by Sebastian Brant, which spread the news of the birth of a two bodied, eight legged, four eared and two tongued pig in Landser. Deformed animals such as these were interpreted as divine signs by the population, referring to the end of the world which was expected to take place in about 1500. In the course of the impending Turkish invasion, the leaflet and Engraving have also been interpreted as heralding the imminent supremacy of the heathens over the Christians, or more generally the rule of the Antichrist.Artist:D?RER, Albrecht Title: The Deformed Landser Sow Painted in 1501-1550 , German - - graphics : other
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Albrecht Durer
The Prodigal Son
261 x 202 mm Staatliche Kunsthalle, Karlsruhe In the Engraving of The Prodigal Son, D?rer deviated considerably from earlier depictions of the theme. Here, the scene is placed in the midst of a Franconian farm and shows the prodigal son at the moment of his repentance, kneeling in prayer on a pile of manure in the foreground amongst the swine. The naturalism of the picture was widely admired and contributed to the fame of the engraving.Artist:D?RER, Albrecht Title: The Prodigal Son Painted in 1501-1550 , German - - graphics : religious
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Albrecht Durer
Three Peasants in Conversation
1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre
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Albrecht Durer
St John's Church
1489 Watercolour and gouache on paper, 29 x 42 cm The Hermitage, St. Petersburg This watercolour is among the earliest landscape paintings in European art to depict a specific location. D?rer may well have painted it in the summer of 1489, at the age of 18, although it could date from 1494 after his journeyman travels. Inscribed `Saint John's Church', it shows the church and a row of houses which lay just to the west of Nuremberg. Nearly 40 years later D?rer was to be buried in Saint John's graveyard. D?rer's watercolour view faces south, with a view of the distant hills beyond. The perspective is curious; it is almost a bird's-eye view. The row of houses appears flat rather than three-dimensional. Despite these problems, D?rer has lavished great care on the picture. In his early watercolours he was more concerned about the rendering of detail, rather than the overall effect. The watercolour of Saint John's Church was looted during the Second World War and lost for nearly 50 years. Owned by the Kunsthalle in Bremen, it was among thousands of Old Master drawings which had been hidden for safekeeping in the cellar of a mansion 50 miles north-west of Berlin. The Red Army occupied the house in 1945 and soldiers ransacked the art works. Viktor Baldin, a young officer, found this watercolour on the floor, among a mass of works abandoned by the first looters. He saved the picture, along with 363 other drawings (including 22 D?rers), and brought it back to Russia. Baldin later gave the drawings to the architectural museum near Moscow where he worked. The existence of the missing Bremen pictures was kept secret until 1992. They are temporarily at the Hermitage in St Petersburg and lengthy negotiations are likely before their return to Bremen.Artist:D?RER, Albrecht Title: St John's Church Painted in 1501-1550 , German - - graphics : landscape
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Albrecht Durer
Mass
307 x 221 mm Staatliche Museen, Berlin The late date is justified by the simplified and strictly planar representation. Depth of field is not lacking, but occurs only in a regular succession of planes, The drawing also has interest for historians of architecture: an arcade with columns that have an intermediate entablature above their capitals. The connection between this and the transverse column pairs in the side aisle (which breaks down into isolated bays) is unclear. The geminate altarpiece is in pure (North Italian) Renaissance style.Artist:D?RER, Albrecht Title: Mass Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Christ on the Mount of Olives
1521 Pen and ink, 208 x 294 mm St?delsches Kunstinstitut, Frankfurt Christ is lying completely flat on the ground ("fell on his face, and prayed"); D?rer could have seen this posture depicted by Mantegna. The rocks in starlike layers and the veil of mist pressing down from above lend support to the effect of the motif. The Apostles are small and are sitting off to a side by themselves.Artist:D?RER, Albrecht Title: Christ on the Mount of Olives Painted in 1501-1550 , German - - graphics : religious
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Albrecht Durer
Man of Sorrows by the Column
1509 Engraving, 116 x 75 mm Metropolitan Museum of Art, New York Sheet No. 1 of the Engraved Passion. Generally considered the frontispiece of the Engraved Passion. This print opens the Passion series, although it is not historical but a representation outside the Gospels. As such, it probably derives from Passion plays. In this version Christ is shown standing. Later, D?rer found the sitting position preferable and used it for the frontispieces of his woodcut Passions. The combination of the Man of Sorrows with the Virgin and St John was already used by Schongauer. The iconography is based on a vision experienced by St Bridget. The arrangement of the bystanders in half-length is quite new and remarkable. After this work D?rer suspended his engraving activity until 1511 and suddenly returned to producing a series of woodcuts after a lapse of more than five years. He issued more than thirty of the thirty-seven subjects of the Small Woodcut Passion during this period. The complete series was published in 1511. At the same time D?rer finally completed the Heller Altarpiece. In 1510 D?rer also prepared the additional sheets of the Large Woodcut Passion and the [woodcut] Life of the Virgin.Artist:D?RER, Albrecht Title: Man of Sorrows by the Column (No. 1) Painted in 1501-1550 , German - - graphics : religious
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Albrecht Durer
Young Couple Threatened by Death
1498 Engraving, 196 x 121 mm Staatliche Kunsthalle, Karlsruhe The Engraving showing a strolling couple is one of the genre pictures which D?rer created in the tradition of the Master of the Housebook and Martin Schongauer. As the gallant gazes at his companion adoringly, he points ahead to the path. The ostrich feather he is wearing in his hat is a sign of his bachelor status. The fantastic costume worn by the woman combines elements from both Nuremberg and Venetian fashion. Behind the tree, unnoticed by the lovers, Death is holding up an hourglass. The picture can be interpreted as a moralizing metaphor for the transitoriness of love and sensuality. The figure of death does not necessarily indicate a warning to lovers, as this was not customary in the fifteenth century. Death was, however, frequently pictured as a reminder that life on earth should not be solely devoted to pleasure and luxury. The cap worn by the man is a precursor of the berets which became popular in the sixteenth century. He has also already discarded the pointed shoes of the type still worn by his companion. The tall grass-like plant in the foreground may be allegorical, related to the quotation from Isaiah in the Basle Dance of Death that "all flesh is like hay and grass; grass dries up and flowers wilt. "Artist:D?RER, Albrecht Title: Young Couple Threatened by Death; or, the Promenade Painted in 1501-1550 , German - - graphics : mythological
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Albrecht Durer
The Temptation of the Idler; or The Dream of the Doctor
1498 Engraving, 188 x 119 mm Metropolitan Museum of Art, New York It has been observed by every commentator on D?rer's genius that in his work is found the blending .of two great traditions the medieval, culminating in the Gothic, and the revered Classical, rediscovered and nurtured by the Renaissance, especially in Italy. Erwin Panofsky feels that The Dream, sometimes called The Dream of the Doctor, should be titled The Temptation of the Idler, for here is pictured a slothful, self indulgent individual who sleeps in front of his heated fireplace, comfortably resting his head against a soft pillow. According to medieval codes of conduct such behaviour encouraged temptation, which is represented by the Devil, a demon who "blows" thoughts, presumably evil, into the sleeper's ear. Probably the dream itself is represented by the nude Venus, voluptuous and inviting. She is accompanied, no doubt to identify her, by a playful Eros. The model for the female form may well have been taken from the languorous women of the Italian Jacopo de' Barbari, whose engravings D?rer admired, or from other works by Italian masters which he knew. Young D?rer was trained as an apprentice in his father's goldsmith shop. There he learned the use of the graver or burin for incising designs and images into metal. Practically all of the great masters of the engraved print had similar early training. D?rer's mastery of his tools is evident in this print. Note the clean, sure flicks of the graver, suggesting modeling and volume. In the upper background, minute crosshatching is employed to project the sleeping figure forward from the rear plane. D?rer's training as a goldsmith also prepared him to render the hardware of the furniture, the texture of the tiles, and the graining of wood.Artist:D?RER, Albrecht Title: The Temptation of the Idler; or The Dream of the Doctor Painted in 1501-1550 , German - - graphics : other
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Albrecht Durer
Seated Prophet
1517 Pen, 232 x 192 mm Graphische Sammlung Albertina, Vienna Seen from below, his hands hidden in his lap, the prophet is a significant conception in the solemn and splendid style of the late 1510s.Artist:D?RER, Albrecht Title: Seated Prophet Painted in 1501-1550 , German - - graphics : study
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| Albrecht Durer
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b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
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