All Albrecht Durer 's Paintings
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Choice ID Image  Paintings (From A to Z)       Details 
42367 A Duck  A Duck   mk168 1515 233x127mm
42338 A Grayhound  A Grayhound   mk168 145x196mm
42361 A Lobster  A Lobster   mk168 247x429mm 1495
42377 A Mountain hut in Disrepair  A Mountain hut in Disrepair   mk168 Pen and ink with watercolor on paper 372x262mm
42359 A Nosegay of Violets  A Nosegay of Violets   mk168 117x104mm
42319 A Nuremberg Lady Dressed to go to a Dance  A Nuremberg Lady Dressed to go to a Dance   mk168 325x218mm
42315 A Nuremberg lady Dressed to go to Church  A Nuremberg lady Dressed to go to Church   mk168 317x172mm
42314 A Nuremberg Lady in Everyday  A Nuremberg Lady in Everyday   mk168 Pen and ink on paper with Water-color 284x130mm
42381 A Pond in the woods  A Pond in the woods   mk168 262x365mm Watercolor and body Color on paper
42376 A Tree in a Quarry  A Tree in a Quarry   mk168 296x219mm
42279 A Venetian lady  A Venetian lady   mk168 28x21cm Oil on poplar wood
42327 A Woman of Nuremberg and one of venice  A Woman of Nuremberg and one of venice   mk168 241x160mm
63621 A Young Girl of Cologne  A Young Girl of Cologne   1520 Silverpoint, 129 x 190 mm Graphische Sammlung Albertina, Vienna This is a leaf from the sketchbook of the trip to the Lowlands. The legend reads: "awff dem rin mein Weib pey poparti" (on the Rhine, my wife at Boppard). Thus the drawing was made on the boat in July 1520. It gives the best (at least the best preserved) picture of D?rer's wife in her later years; with her cold protruding eyes and the domineering lines at the corners of her mouth, she does not look particularly lovable. Her juxtaposition with the young girl, whose coiffure is labeled "kolnisch gepend" (Cologne girl's headdress) by the artist, is certainly only accidental here, but is nevertheless not without analogies in the context of the sketches on this journey.Artist:D?RER, Albrecht Title: A Young Girl of Cologne and D?rer's Wife Painted in 1501-1550 , German - - graphics : other
42363 A Young Hare  A Young Hare   mk168 241x226mm
42278 A Young lady of Venice  A Young lady of Venice   mk168 Oil on elmwood 32x25cm
63675 Abduction of a Woman  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
28091 Adam  Adam   mk61 1507 Oil on panel 209x81cm
42332 Adam  Adam   mk168 Oil on wood 209x81cm
82806 Adam  Adam   1507(1507) Medium Oil on panel Dimensions Deutsch: 209 x 81 cm cyf
40299 Adam and Eve  Adam and Eve   mk156 1507 Oil on panel
42333 Adam and Eve  Adam and Eve   mk168 252x195mm
58705 Adam and Eve  Adam and Eve   Adam and Eve, by Albrecht D??rer (1507).
63661 Adam and Eve  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
75451 Adam and Eve  Adam and Eve   1507(1507) 209 X 81 & 209 X 83 cm cjr
77333 Adam and Eve  Adam and Eve   Français : tableau Dimensions 209 ?? 81 & 209 ?? 83 cm cyf
45409 Adam and Eves  Adam and Eves   mk186 around 1507 Madrids Museo del Prado
40290 Adoration of the Magi  Adoration of the Magi   mk156 1504 Oil on panel 98x112cm
63739 Adoration of the Magi  Adoration of the Magi   1504 Oil on wood Galleria degli Uffizi, FlorenceArtist:D?RER, Albrecht Title: Adoration of the Magi (detail) Painted in 1501-1550 , German - - painting : religious
1039 Adoration of the Trinity  Adoration of the Trinity   1511 Art History Museum, Vienna
42409 Agnes Durer Netherlandish Costume  Agnes Durer Netherlandish Costume   mk168 407x271mm
42306 Agony in the Garden  Agony in the Garden   mk168 221x156mm
42430 Agony in the Garden  Agony in the Garden   mk168 Woodcut 389x282mm
42442 Agony in the Garden  Agony in the Garden   mk168 1508 118x75mm
42385 Albrech Durer the Elder with Rosary  Albrech Durer the Elder with Rosary   mk168 47.5x39.5cm Oil on wood
67617 Albrecht Durer  Albrecht Durer   Title Deutsch: Loths Flucht Year Deutsch: um 1496 English: c. 1496 Technique Oil on panel Dimensions Deutsch: 50,2 X 39,7 cm
42284 Albrecht Durer and an unknown companion  Albrecht Durer and an unknown companion   mk168 cf.139.
42215 Albrecht Durer the Elder  Albrecht Durer the Elder   mk168 Oil on limewood 51x40cm London National Gallery
42499 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42500 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42501 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42502 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42503 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42504 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
94699 Allegorie des Geizes  Allegorie des Geizes   1507(1507) Medium Deutsch: Lindenholz Dimensions Deutsch: 35 x 29 cm Rahmenmaße: 40 x 36 x 8 cm cyf
63725 Alliance Coat of Arms  Alliance Coat of Arms   1490 Oil on panel, 47 x 39 cm Galleria degli Uffizi, Florence The picture shows the rear view of the Portrait of Albrecht D?rer the Elder. The painted variant on the alliance coat of arms of the D?rer and Holper families, a so-called speaking coat of arms, is also depicted in a woodcut dating from 1523. It forms the back side of D?rer's first portrait of his father in 1490. The family's coat of arms depicts an open barn door on the left, which was presumably a symbol of the family name. The name means the same as "T?rer," the German translation of "Ajto" (door), their place of origin Ajtos near Gyula, the capital of the B?k?s district.Artist:D?RER, Albrecht Title: Alliance Coat of Arms of the D?rer and Holper Families Painted in 1501-1550 , German - - painting : other
1044 Altarpiece of the Rose Garlands  Altarpiece of the Rose Garlands   1506 Narodni Galerie, Prague
80478 Alte mit Geldbeutel  Alte mit Geldbeutel   Date 1507 Medium Deutsch: Lindenholz Dimensions Deutsch: 35 x 29 cm cjr
84745 Alte mit Geldbeutel  Alte mit Geldbeutel   1507 Medium Deutsch: Lindenholz Dimensions Deutsch: 35 x 29 cm cyf
52056 Amorous Peasants  Amorous Peasants   Drawing Pinacoteca Ambrosiana
42283 An architect  An architect   mk168 386x263mm
42274 An orinetal Ruler Enthroned with traces of the artist-s monogram  An orinetal Ruler Enthroned with traces of the artist-s monogram   mk168 Pen and ink on paper 306x197mm
70227 Anbetung der Konige Detail  Anbetung der Konige Detail   Medium Oil on panel Dimensions 098 X 111 cm
73161 Anbetung der Konige Detail  Anbetung der Konige Detail   Date 1504 Medium Oil on panel Dimensions 98 X 111 cm (38.58 X 43.7 in) cyf
67724 Anbetung der Konige, Detail  Anbetung der Konige, Detail   1504 Oil on panel 98 X 111 cm (38.58 X 43.70 in)
71883 Anbetung der Konige, Detail  Anbetung der Konige, Detail   1504 Oil on panel 98 x 111 cm (38.58 x 43.7 in)
42228 Anne with the virgin and the infant Christ  Anne with the virgin and the infant Christ   mk168 1519 oIL 60X50CM
63590 Annunciation  Annunciation   1526 Pen drawing, 288 x 211 mm Mus?e Cond? ChantillyArtist:D?RER, Albrecht Title: Annunciation Painted in 1501-1550 , German - - graphics : study
63610 Antwerp Harbour  Antwerp Harbour   1520 Pen drawing, 213 x 283 mm Graphische Sammlung Albertina, Vienna This drawing is from the artist's sketchbook of his trip to the Netherlands. The waterfront is seen from an elevation; the pictorial technique is lively and bold. The reduction in the size of the objects due to perspective, as seen in the ships, generates a vivid feeling of depth, all the more because the right foreground was never elaborated.Artist:D?RER, Albrecht Title: Antwerp Harbour Painted in 1501-1550 , German - - graphics : other
42331 Apollo and Diana  Apollo and Diana   mk168 157x97mm
63581 Apollo and Diana  Apollo and Diana   1502 Engraving, 115 x 70 mm Metropolitan Museum of Art, New York Closely related to the very similar engraving by Jacopo de Barbari. In no other plate, except Adam and Eve is there such delicate modelling of the flesh. The contrast of male and female is emphasized by the introduction of movement. The head of Diana is almost identical to the one in the drawing Woman Riding a Dolphin, dated 1503. The D of the monogram shows a correction.Artist:D?RER, Albrecht Title: Apollo and Diana Painted in 1501-1550 , German - - graphics : mythological
63668 Apollo with the Solar Disc  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
75993 Apostel Jakobus  Apostel Jakobus   1516(1516) Oil on canvas 46 ?? 38 cm cjr
77928 Apostel Jakobus  Apostel Jakobus   1516(1516) Medium Oil on canvas Dimensions Deutsch: 46 ?? 38 cm cyf
74471 Apostel Philippus  Apostel Philippus   1516(1516) Leinwand 46 X 38 cm (18.11 X 14.96 in) cjr
75893 Apostel Philippus  Apostel Philippus   Date 1516(1516) Dimensions 46 ?? 38 cm (18.1 ?? 15 in) cyf
42347 Arion  Arion   mk168 142x234mm
57287 Artist self-portrait  Artist self-portrait   mk255 for in 1493. 0.56 x 0.44 meters canvas. Paris, the Louvre
42323 Bath Attendant  Bath Attendant   mk168 1493 Pen and ink on paper 272x147mm
42384 Bearded Man in a Red cap  Bearded Man in a Red cap   mk168 40x30cn 1520
63627 Bearing of the Cross  Bearing of the Cross   1512 Engraving, 117 x 74 mm Art Museum, Princeton Sheet No. 10 of the Engraved Passion. St Veronica is shown kneeling in front of Christ. This engraved version cannot compare to the triumphant one of the woodcut. In this instance, Christ is pictured standing, turned toward the women. The rendering of this scene as a nocturne is unprecedented. This print can be called "Schongaueresque" in concept. The guardsman shouting at the people is, in fact, found in Schongauer's version, perhaps based on Passion plays. There is an impression without the hanger of the tablet bearing the monogram at the Museum of Fine Arts in Boston.Artist:D?RER, Albrecht Title: Bearing of the Cross (No. 10) Painted in 1501-1550 , German - - graphics : religious
83228 Betende Maria  Betende Maria   1518 Medium Oil on panel Dimensions Deutsch: 53 x 43 cm cyf
63584 Betrayal of Christ  Betrayal of Christ   1508 Engraving, 118 x 75 mm Metropolitan Museum of Art, New York Sheet No. 3 of the Engraved Passion. St Peter, striking Malchus, seems to take the spotlight away from Christ. The head of Malchus is strongly reminiscent of that in a Schongauer's engraving. The episode in the background, showing a fleeing youth, represents the rarely illustrated passage Mark 14:51-52, perhaps transmitted by Passion plays. The object underneath Malchus is a lantern, which he customarily carries in Passion plays. The emphasis is here shifted from the commotion of the arrest to the tragedy of the betrayal. Physical violence is limited to the duel between St Peter and Malchus. Christ, unconscious of the noose which threatens his neck, bends his head and closes his eyes to receive the kiss, as though Judas and he were alone in the universe. Closely related to the corresponding subject in the Green Passion.Artist:D?RER, Albrecht Title: Betrayal of Christ (No. 3) Painted in 1501-1550 , German - - graphics : religious
75439 Beweinung Christi  Beweinung Christi   c. 1498 Oil on panel 147 X 118 cm cjr
77324 Beweinung Christi  Beweinung Christi   Deutsch: um 1498 English: c. 1498 Medium Oil on panel cyf
83392 Bildnis einer jungen Venezianerin  Bildnis einer jungen Venezianerin   1506(1506) Medium Poplar wood Dimensions Height: 28.5 cm (11.2 in). Width: 21.5 cm (8.5 in). cyf
80003 Bubender Hieronymus  Bubender Hieronymus   c. 1494-1497 Oiil on wood 23,1 x 17,4 cm cjr
83928 Bubender Hieronymus  Bubender Hieronymus   English: c. 1494-1497 cyf
42277 Burkard of Speyer  Burkard of Speyer   mk168 Oil on wood 32x27cm
42413 Cardinal Albrecht of Bran-Denburg  Cardinal Albrecht of Bran-Denburg   mk168 1519 146x96mm
42414 Cardinal Albrecht of Bran-Denburg  Cardinal Albrecht of Bran-Denburg   mk168 428x323mm Chalk on paper
42412 Cardinal Albrecht of Bran-Denburg in portrait  Cardinal Albrecht of Bran-Denburg in portrait   mk168 174x120mm
63608 Cardinal Albrecht of Brandenburg  Cardinal Albrecht of Brandenburg   The Small Cardinal 1519 Engraving, 148 x 97 mm Staatliche Kunsthalle, Karlsruhe This engraving is one of six copper plate portraits of Cardinal Albrecht of Brandenburg, one of the most influential representatives of the empire. This portrait is based on a preparatory drawing which presumably dates from the time of D?rer's stay at Augsburg during the Imperial Diet of 1518. In a letter to Georg Spalatin, an adviser of Frederick the Wise, D?rer reports the circumstances: "I am enclosing three prints of an engraving for my gracious lord. It was engraved upon the request of my gracious lord of Mainz. I sent the copper plate to him together with two hundred impressions as a present. He then sent me most kindly two hundred gold guilders in return and twenty ells of damask for a coat." The plate was used subsequently to illustrate the book Das Heiligtum zu Sachsen, Halle, 1524. The portrayed man is placed before a screen. His erect posture, diagonal line of sight out of the picture, the coat of arms and the two inscriptions all emphasize the official nature of the portrait. The inscription above the portrait reads: "Albrecht by Divine Mercy Presbyter Cardinal of the Holy Roman Church, Titular of St. Chrysogonus, Archbishop of Mainz and Magdeburg, Primate Elector of the Empire, Administrator of Halberstadt, Margrave of Brandenburg." The legend on the bottom states: "Thus were his eyes, his cheeks, his features at the age of 29." Cardinal Albrecht of Brandenburg was born on June 28, 1490. He became Archbishop of Magdeburg in 1513, Archbishop of Mainz in 1514 and Cardinal in 1518. In 1514 Jacob Fugger of the wealthy trading house of Augsburg had advanced 21,000 ducats to Albrecht in order to secure for him the Archbishopric of Mainz, which entailed the electorship. The Pope authorized the sale of indulgences to reimburse the Fuggers, provided one half of the proceeds was turned over to the Papal treasury. An agent of the Fuggers subsequently traveled in the Cardinal's retinue in charge of the cashbox. It was Albrecht who appointed the Dominican Tetzel and thus indirectly caused Luther to post his 95 theses on the church doors at Wittenberg:.Artist:D?RER, Albrecht Title: Cardinal Albrecht of Brandenburg; or, The Small Cardinal Painted in 1501-1550 , German - - graphics : portrait
63618 Cardinal Albrecht of Brandenburg  Cardinal Albrecht of Brandenburg   1523 Engraving, 174 x 127 mm Metropolitan Museum of Art, New York "Before I became ill this year I sent an engraved copper plate to Your Electoral Grace with your portrait together with five hundred impressions thereof. Finding no acknowledgment of this in Your Grace's letter, I fear that either the portrait did not please Your Grace - this would sadden me, as my diligence would have had poor results - or else, I fear that it may not have reached Your Grace at all. I beg Your Grace for a gracious reply." Thus we have in D?rer's own words the history of this engraving. The fact that D?rer sent five hundred copies to the Cardinal, all produced at the same time, explains the uniform quality of so many impressions found in various collections. All these have the identical watermark, a small jug. This engraving is based on a new preparatory drawing that probably dates from the Diet of Nuremberg, 1522/23. The Cardinal had gained weight since the earlier portrait (The Small Cardinal) he had wild, protruding eyes, a bulbous mouth and layers of fat on chin and cheeks. D?rer offset the predominant lower part of the face with a large cap. It suggests that beneath it a large impressive head is to be found. In actuality that was not the case. D?rer used utmost discretion in the treatment of the physiological details without denying the monstrous reality. It is D?rer's most interesting utilization of a profile. In contrast with the Small Cardinal, and in accordance with other late portrait engravings, this portrait has depth and substance. It is treated as a real tablet, carved and framed after the fashion of Roman tombstones, which were common in Germany, as in Italy and France.Artist:D?RER, Albrecht Title: Cardinal Albrecht of Brandenburg; or, the Great Cardinal Painted in 1501-1550 , German - - graphics : portrait
63678 Caspar Sturm  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
42445 Chris before pilate  Chris before pilate   mk168 1512 118x74mm
1043 Christ Among the Doctors  Christ Among the Doctors   1506 Foundation Thyssen Bornemisza, Madrid
42439 Christ and the Doctors  Christ and the Doctors   mk168 Woodcut 300x208mm
42262 Christ as Man of Sorrows  Christ as Man of Sorrows   mk168 oil on fir 30x19cm
1056 Christ as the Man of Sorrows  Christ as the Man of Sorrows   1493 Staatliche Kunsthalle, Karlsruhe
42450 Christ Bearing the Cross  Christ Bearing the Cross   mk168 1512 117x74mm
42303 Christ Before Caiaphas  Christ Before Caiaphas   mk168 283x178mm
63591 Christ before Caiaphas  Christ before Caiaphas   1512 Engraving, 117 x 74 mm Metropolitan Museum of Art, New York Sheet No. 4 of the Engraved Passion. The ceiling, in this instance, gives the engraving a feeling of architectural enclosure, quite in contrast to other subjects of the series. The ceiling beams are directed toward the vanishing point on the left. This serves to emphasize the dialogue between Christ and Caiaphas, which is further enhanced by the lighting. The guardsman on the right seems Leonardesque. This engraving is based on the corresponding subject in the Green Passion. The main figures, especially the deceitful Caiaphas, are drawn in a masterly manner.Artist:D?RER, Albrecht Title: Christ before Caiaphas (No. 4) Painted in 1501-1550 , German - - graphics : religious
63594 Christ before Pilate  Christ before Pilate   1512 Engraving, 117 x 75 mm Metropolitan Museum of Art, New York Sheet No. 5 of the Engraved Passion. The false witness is pointing at Christ. The close relationship of this engraving to the Green Passion has been noted by most commentators. Nevertheless, it has recently been asserted that the Green Passion sheets may have been based on the engravings and executed by Hans von Kulmbach. This high degree of similarity of the two renderings casts great doubt on the authenticity of the Green Passion sheet.Artist:D?RER, Albrecht Title: Christ before Pilate (No. 5) Painted in 1501-1550 , German - - graphics : religious
42444 Christ befroe Caiaphas  Christ befroe Caiaphas   mk168 1512 117x74mm
42293 Christ Carrying the Cross  Christ Carrying the Cross   mk168 210x285mm Pen and ink on paper
42294 Christ Carrying the Cross  Christ Carrying the Cross   mk168 210x285mm
63605 Christ Crowned with Thorns  Christ Crowned with Thorns   1512 Engraving, 118 x 74 mm Art Museum, Princeton Sheet No. 7 of the Engraved Passion. Christ is shown in profile, yet quite differently from the woodcut versions of this subject. This is richer and more picturesque. Nevertheless, greater clarity is not quite achieved. The similarity of the spatial arrangement to the Flagellation can be observed. Pilate is seen in the background, standing next to Caiaphas. The bald bearded man is reminiscent of Italian model heads.Artist:D?RER, Albrecht Title: Christ Crowned with Thorns (No. 7) Painted in 1501-1550 , German - - graphics : religious
42433 Christ in Limbo  Christ in Limbo   mk168 392x280mm 1510 Woodcut
42259 Christ on the Cross  Christ on the Cross   mk168 220x133mm
42245 Christ on the Cross between the Virgin and St.John  Christ on the Cross between the Virgin and St.John   mk168 Pen and ink on paper 310x227mm
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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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