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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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The Virgin among a Multitude of Animals
1503 Pen and ink and watercolour on paper, 321 x 243 mm Graphische Sammlung Albertina, Vienna The Virgin holds the Christ child, who ignores the natural wonders around him and points towards Joseph. The small figure of Joseph stands near the house and he appears to be conversing with a stork. A closer examination reveals that many incidents from the story of the Nativity are being told. An angel swoops down from the sky to give news of Christ's arrival to shepherds tending their flocks on the hillside. On the left side of the picture, the ships of the three Kings have arrived and the Magi are setting off with their retinues. This charming picture is distinguished from countless depictions of the Nativity by the wonders of nature which D?rer has included. The parrot, perched on the pole by the Virgin's side, was the prophet which announced her arrival. D?rer drew this bird from an earlier study. The artist loved parrots and he later acquired several live specimens on his trip to the Netherlands in 1521. Just beneath the parrot in the watercolour is a green woodpecker, ready to hammer out a song of praise. In the bottom left corner a large stag beetle teases the Virgin's faithful but sleepy dog and a butterfly has gently alighted on its back. All the creatures have a meaning. The chained fox is a symbol of evil. The two owls around the tree stump represent the forces of darkness, but Christ's appearance has deprived them of their power. In the bottom right corner is a crab, like the one which D?rer painted on his first visit to Venice. Among other creatures are a snail, a dragonfly, a pair of swans, a robin, a moth and a water wagtail. D?rer has delicately added colour wash to his pen and ink drawing, blue for the sky and water, a range of greens for the landscape and traces of red for the flowers. The resulting work is extremely delicate, portraying the Virgin and Child with great tenderness and a touch of humour. Two other versions of this picture exist and the composition may well have been intended as a study for a proposed engraving.Artist:D?RER, Albrecht Title: The Virgin among a Multitude of Animals Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63649
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The_Virgin_among_a_Multitude_of_Animals
1503 Pen and ink and watercolour on paper, 321 x 243 mm Graphische Sammlung Albertina, Vienna The Virgin holds the Christ child, who ignores the natural wonders around him and points towards Joseph. The small figure of Joseph stands near the house and he appears to be conversing with a stork. A closer examination reveals that many incidents from the story of the Nativity are being told. An angel swoops down from the sky to give news of Christ's arrival to shepherds tending their flocks on the hillside. On the left side of the picture, the ships of the three Kings have arrived and the Magi are setting off with their retinues. This charming picture is distinguished from countless depictions of the Nativity by the wonders of nature which D?rer has included. The parrot, perched on the pole by the Virgin's side, was the prophet which announced her arrival. D?rer drew this bird from an earlier study. The artist loved parrots and he later acquired several live specimens on his trip to the Netherlands in 1521. Just beneath the parrot in the watercolour is a green woodpecker, ready to hammer out a song of praise. In the bottom left corner a large stag beetle teases the Virgin's faithful but sleepy dog and a butterfly has gently alighted on its back. All the creatures have a meaning. The chained fox is a symbol of evil. The two owls around the tree stump represent the forces of darkness, but Christ's appearance has deprived them of their power. In the bottom right corner is a crab, like the one which D?rer painted on his first visit to Venice. Among other creatures are a snail, a dragonfly, a pair of swans, a robin, a moth and a water wagtail. D?rer has delicately added colour wash to his pen and ink drawing, blue for the sky and water, a range of greens for the landscape and traces of red for the flowers. The resulting work is extremely delicate, portraying the Virgin and Child with great tenderness and a touch of humour. Two other versions of this picture exist and the composition may well have been intended as a study for a proposed engraving.Artist:D?RER, Albrecht Title: The Virgin among a Multitude of Animals Painted in 1501-1550 , German - - graphics : religious
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Study of Hands
1506 Pen and ink heightened with white on paper, 206 x 185 mm Blasius Collection, Braunschweig D?rer's painting Christ among the Doctors (1506, Thyssen-Bornemisza Collection, Madrid) was based on a number of careful studies, including this one of Christ's gesticulating fingers.Artist:D?RER, Albrecht Title: Study of Hands Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63650
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Study_of_Hands
1506 Pen and ink heightened with white on paper, 206 x 185 mm Blasius Collection, Braunschweig D?rer's painting Christ among the Doctors (1506, Thyssen-Bornemisza Collection, Madrid) was based on a number of careful studies, including this one of Christ's gesticulating fingers.Artist:D?RER, Albrecht Title: Study of Hands Painted in 1501-1550 , German - - graphics : study
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Knight on Horseback
1512 Drawing, 239 x 173 mm Biblioteca Pinacoteca Ambrosiana, Milan A preliminary study, drawn on both sides of the paper, for the masterly engraving of the Knight, Death and the Devil concentrates on the group comprising the horse and rider. From the proportional scheme drawn onto the sheet, it can be seen that D?rer precisely prepared the copper engraving in the same manner as his studies on the ideal proportions of the horse. While he did not change the depiction of the rider in the copper engravings, he altered details in the horse several times, for example correcting its right hind hoof both on the preliminary drawing and on the plate.Artist:D?RER, Albrecht Title: Knight on Horseback Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63651
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Knight_on_Horseback
1512 Drawing, 239 x 173 mm Biblioteca Pinacoteca Ambrosiana, Milan A preliminary study, drawn on both sides of the paper, for the masterly engraving of the Knight, Death and the Devil concentrates on the group comprising the horse and rider. From the proportional scheme drawn onto the sheet, it can be seen that D?rer precisely prepared the copper engraving in the same manner as his studies on the ideal proportions of the horse. While he did not change the depiction of the rider in the copper engravings, he altered details in the horse several times, for example correcting its right hind hoof both on the preliminary drawing and on the plate.Artist:D?RER, Albrecht Title: Knight on Horseback Painted in 1501-1550 , German - - graphics : study
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Portrait of Maximilian I
1518 Charcoal and chalk on paper, 381 x 319 mm Graphische Sammlung Albertina, Vienna On 28 June 1518 D?rer had sketched Maximilian during the Imperial Diet at Augsburg. He inscribed the drawing: `This is Emperor Maximilian, whom I, Albrecht D?rer, portrayed up in his small chamber in the tower at Augsburg on the Monday after the feast day of John the Baptist in the year 1518.' In the relatively informal sketch D?rer captured a hint of the fatigued resignation of the 59 year-old ruler. The drawing has suffered: the colour added to the face by another hand is now washed out, but has left behind large disfiguring traces. This is a preliminary study for the paintings in Vienna and Nuremberg.Artist:D?RER, Albrecht Title: Portrait of Maximilian I Painted in 1501-1550 , German - - graphics : portrait
Painting ID:: 63652
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Portrait_of_Maximilian_I
1518 Charcoal and chalk on paper, 381 x 319 mm Graphische Sammlung Albertina, Vienna On 28 June 1518 D?rer had sketched Maximilian during the Imperial Diet at Augsburg. He inscribed the drawing: `This is Emperor Maximilian, whom I, Albrecht D?rer, portrayed up in his small chamber in the tower at Augsburg on the Monday after the feast day of John the Baptist in the year 1518.' In the relatively informal sketch D?rer captured a hint of the fatigued resignation of the 59 year-old ruler. The drawing has suffered: the colour added to the face by another hand is now washed out, but has left behind large disfiguring traces. This is a preliminary study for the paintings in Vienna and Nuremberg.Artist:D?RER, Albrecht Title: Portrait of Maximilian I Painted in 1501-1550 , German - - graphics : portrait
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Head of the Twelve Year Old Christ
1506 Brush drawing on blue Venetian paper, 275 x 211 mm Graphische Sammlung Albertina, Vienna The head study of the twelve year-old Jesus was originally drawn on the same sheet, later separated, as the preliminary drawing of the lute-playing angel in the Feast of the Rose Garlands. This is confirmed by the fact that the two pictures were created at the same time. In contrast to the preliminary drawing for the Feast of the Rose Garlands, D?rer kept more rigidly to his preliminary study in the painting of Christ among the Doctors, diverging only in details such as the reproduction of the hair.Artist:D?RER, Albrecht Title: Head of the Twelve Year Old Christ Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63653
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Head_of_the_Twelve_Year_Old_Christ
1506 Brush drawing on blue Venetian paper, 275 x 211 mm Graphische Sammlung Albertina, Vienna The head study of the twelve year-old Jesus was originally drawn on the same sheet, later separated, as the preliminary drawing of the lute-playing angel in the Feast of the Rose Garlands. This is confirmed by the fact that the two pictures were created at the same time. In contrast to the preliminary drawing for the Feast of the Rose Garlands, D?rer kept more rigidly to his preliminary study in the painting of Christ among the Doctors, diverging only in details such as the reproduction of the hair.Artist:D?RER, Albrecht Title: Head of the Twelve Year Old Christ Painted in 1501-1550 , German - - graphics : study
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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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