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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
Death of Orpheus
1494 Pen drawing, 289 x 225 mm Kunsthalle, Hamburg This drawing is probably derived from a painting by Andrea Mantegna, whose printed graphics D?rer copied. Mantegna in his turn was using Greco-Roman models. This landscape, the details of the drapery folds and the handling of the line in general are worked out in a quite independent fashion. The centre of the picture is the male nude in motion. According to the Metamorphoses by the classical author Ovid (43 B.C.-17/18 A.D.), Orpheus introduced homosexual love to Thrace and for that reason is beaten to death by two Thracian women during a bacchanal. The group of figures is placed before a central tree in which an open book with music is hanging. The classical singer's lyre is lying at his feet. In the tree a banderole with legends: "Orfeus der erst puseran" (Orpheus, the first pederast). The woman at the left and the boy were used by D?rer a few years later in the engraving known as "Jealousy" (more correctly "Chastity and Unchastity").Artist:D?RER, Albrecht Title: Death of Orpheus Painted in 1501-1550 , German - - graphics : mythological
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Albrecht Durer
Study of an Apostle's Hands
1508 Brush drawing on blue primed paper, 290 x 197 mm Graphische Sammlung Albertina, Vienna Several individual studies made for the destroyed altarpiece commissioned by the Frankfurt merchant and councilman Jakob Heller still survive. The so-called Praying Hands were a preliminary study for an apostle. Removed from their original context, they have been viewed as an autonomous work of art and have become enormously popular. In the 19th and 20th centuries in particular, numerous reproductions of the Praying Hands have graced the walls of middle-class homes as an embodiment and symbol of German piety.Artist:D?RER, Albrecht Title: Study of an Apostle's Hands (Praying Hands) Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Adam and Eve
1504 Pen drawing with watercolours, 242 x 201 mm The Pierpont Morgan Library, New York D?rer prepared his masterly engraving of Adam and Eve in numerous individual studies. This pen drawing was created immediately before the copper engraving and concentrates entirely on the depiction and three-dimensional structure of the male and female nudes. The body posture of the two figures shown here is already identical down to the last detail with that of the copper engraving.Artist:D?RER, Albrecht Title: Adam and Eve Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
mein Agnes
1494 Pen drawing in bistre on white paper, 156 x 98 mm Graphische Sammlung Albertina, Vienna When D?rer finally returned to Nuremberg in May 1494 he was 23, fully-trained and could open his own workshop. Albrecht the Elder had felt it was time for his son to marry and had chosen a wife during his long absence. On 7 July, just a few weeks after his return, D?rer was married to Agnes Frey, the daughter of the skilled and prosperous coppersmith Hans Frey and his wife Anna Rummel. It was probably just before their wedding that D?rer sketched his fianc?e, then in her late teens. Capturing her pensive mood with just a few strokes of the pen, D?rer lovingly inscribed it: `My Agnes'. Agnes, who still appears girlish, even childlike, here, is sitting at a table and supporting her head pensively on her right hand, her hair tied back. The intimacy of this everyday sketch is unusual, showing the depicted woman at a moment when she evidently thought herself to be unobserved.Artist:D?RER, Albrecht Title: "mein Agnes" Painted in 1501-1550 , German - - graphics : portrait
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Albrecht Durer
Hand Study with Bible - Drawing
280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Seated Woman
1514 Pen, 217 x 162 mm Staatliche Museen, Berlin This is a drawing from a model. Hans Sebald Beham later handled such figures in woodcut style. D?rer's genre pieces are copperplate engravings, but this drawing was not so used.Artist:D?RER, Albrecht Title: Seated Woman Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Study of Drapery
1508 Brush drawing on a dark ground with white highlight, 400 x 235 mm Staatliche Museen, Berlin This drawing, a study for the figure of St Paul in the Heller Altar, is a primary example of the monumental drapery of the middle period. The contrast with Gr?newald should be borne in mind: in D?rer, the light and shade are entirely subservient to the plastic form; in Gr?newald, they create a general, unseizable movement that extends beyond the surfaces and blends the figure into the background.Artist:D?RER, Albrecht Title: Study of Drapery Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Portrait of a Girl
1515 Charcoal, 420 x 290 mm Staatliche Museen, Berlin It has been conjectured that the girl, whose eyes are not open equally wide and who has a somewhat sleepy expression, was a relative of D?rer's wife.Artist:D?RER, Albrecht Title: Portrait of a Girl Painted in 1501-1550 , German - - graphics : portrait
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Albrecht Durer
Green Passion: Christ before Caiaphas
1504 Pen drawing on green primed paper, 283 x 178 mm Graphische Sammlung Albertina, Vienna The Green Passion, so named after the green primed paper, consists of twelve sheets, the purpose of which is not known. It has been assumed that they were used as preliminary sketches for stained glass windows. Like the other pictures, the sheet of Christ before Caiaphas distinguishes itself through its fine white highlights which achieve a magical plasticity and dramatic lighting - as was created by the "clair-obscur" technique - in their harmony with the green base colour of the scene. Christ and Pilate, the two antagonists in the foreground, are positioned opposite each other and emphasized both by the lighting and the architecture.Artist:D?RER, Albrecht Title: Green Passion: Christ before Caiaphas Painted in 1501-1550 , German - - graphics : religious
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Albrecht Durer
Apollo with the Solar Disc
1504 Pen, 285 x 202 mm British Museum, London The full title: Apollo with the Solar Disc and Diana Trying to Shield Herself from the Rays with Her Uplifted Hand. This variation on the Adam of the 1504 copperplate engraving was also conceived originally as a print, but was not engraved. The Adam of the print is more felicitous because of the contrast supplied by the turning of his head away from his extended free leg. The present drawing is finished to a great extent but not yet fully refined. The celestial background, rich in painterly effect, was added at a later stage. The original purpose was the depiction of the male figure alone, who represented the planetary god Sol. The rendering of the sun's rays is extremely noteworthy. The word "Apolo," written backwards with a view toward the engraving, is probably a substitute for the earlier name Sol; this would explain the conspicuous incongruity of the inscription and the space allotted to it.Artist:D?RER, Albrecht Title: Apollo with the Solar Disc Painted in 1501-1550 , German - - graphics : mythological
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Albrecht Durer
Male Nude
1508 Brush drawing with white highlights on dark paper, 198 x 216 mm Kunsthalle, Bremen Study for the Christ in the Heller Altar.Artist:D?RER, Albrecht Title: Male Nude, Half-length Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Female Nude from Behind
1495 Brush drawing on paper, 32 x 21 cm Mus?e du Louvre, Paris This female nude seen from behind records D?rer's interest in human proportions during his first Italian journey. The attributes, staff and cloth, suggest that this freely drawn nude study was created from a model. The firmly sketched shape of her body forms a charming contrast with the glazed, freely swinging cloth. The head and cloth are executed with gentle brushstrokes and clearly show a spatially plastic relationship between the figure and pictorial space.Artist:D?RER, Albrecht Title: Female Nude from Behind Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Study of a Drapery
1508 Brush drawing on dark paper with white highlights, 257 x 192 mm Mus?e du Louvre, Paris Study for the Christ in the Coronation of the Virgin section of the Heller Altar.Artist:D?RER, Albrecht Title: Study of a Drapery Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Laughing Peasant Woman
1505 Pen, 390 x 270 mm British Museum, London The legend reads: "una Villana vindisch" (a peasant woman in the Veneto). This shows the delicate short strokes of the time of The Life of the Virgin, still without more rigorous economy: a flow of little dashes, crossed here and there by patches of straight lines that extend beyond the outlines of the forms; a chiaroscuro effect. The transitory moment of the drawing back of the lips and the blinking of the eyes is captured and retained.Artist:D?RER, Albrecht Title: Laughing Peasant Woman Painted in 1501-1550 , German - - graphics : portrait
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Albrecht Durer
Rhinoceros
1515 Pen drawing, 274 x 420 mm British Museum, London In 1515 the first rhinoceros appeared in Portugal, a gift of Sultan Muzafar of Kamboja in India to King Emanuel I. Although he had not seen the animal with his own eyes, D?rer produced a drawing and a woodcut based on the sketch and description in a letter from a Nuremberg citizen who lived in Lisbon, Valentin Ferdinand, to a merchant who was a friend of D?rer's. The woodcut was also used to make a leaflet which D?rer sold at markets. The rhinoceros is standing in the foreground of the picture, filling its entire format. The detailed depiction of his armor and skin accords with the wording in the inscription below.Artist:D?RER, Albrecht Title: Rhinoceros Painted in 1501-1550 , German - - graphics : other
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Albrecht Durer
Study of the Christ Child
1495 Pen drawing, 172 x 215 mm Mus?e du Louvre, Paris D?rer's pen drawing of a Christ Child is based on a design by the Florentine painter Lorenzo di Credi, which the latter made use of in several works, and it may have been used as a preliminary study for his Virgin and Child (Magnani Collection, Mamiano near Parma). Although the body posture and gestures differ, the types of faces of the two Infant Christs in the painting and drawing are comparable.Artist:D?RER, Albrecht Title: Study of the Christ Child Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Abduction of a Woman
1495 Pen, 283 x 423 mm Mus?e Bonnat, Bayonne This copy of a (lost) engraving by Antonio Pollaiuolo shows the lunge position in front and back view. The important element for D?rer was not the mere representation of the activity, but the basic Italian method of rendering articulation of the body. D?rer allowed himself freedom in individual details. He was surely not able to borrow from his original the manner in which the modeling lines follow the form, and the contour also has become gnarled in D?rer's fashion. The rear view of the male nude recurs in the engraving "Jealousy.'Artist:D?RER, Albrecht Title: Abduction of a Woman Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Head of an Apostle Looking Downward
1508 Brush drawing with white highlights on a dark ground, 316 x 229 mm Graphische Sammlung Albertina, Vienna Study for the Heller Altar. This was a type that long interested D?rer and is still discernible in the head of St Paul in the Munich paintings of Apostles. All the forms contribute with unusual power to the unified expression.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Downward Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
The Stork
1515 Pen drawing Mus?e d'Ixelles, BrusselsArtist:D?RER, Albrecht Title: The Stork Painted in 1501-1550 , German - - graphics : study
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Albrecht Durer
Caspar Sturm
1520 Silverpoint, 127 x 189 mm Mus?e Cond? Chantilly This is a leaf from the sketchbook of the trip to the Lowlands. The legend reads: "1520 Caspar Sturm alt 45 Jor zw ach gemacht" (1520, Caspar Sturm, 45 years old, done at Aix-la-Chapelle [Aachen]). The lighting is peculiar, the landscape is related to the portrait. It is conjectured that the word "toll" indicates a tollhouse. The drawing is mentioned in the journal of the trip to the Lowlands: "Ich hob den Sturm conterfet" (I did a portrait of Sturm).Artist:D?RER, Albrecht Title: Caspar Sturm Painted in 1501-1550 , German - - graphics : portrait
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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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