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100% hand painted, 100% cotton canvas,
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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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Self-portrait_at_22
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Self-portrait at 22
1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait
Painting ID:: 63728
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| 1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait |
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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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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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