All Albrecht Durer 's Paintings
The Painting Names Are Sorted From A to Z

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Choice ID Image  Paintings (From A to Z)       Details 
28090 Portrait of a Man  Portrait of a Man   mk61 1524 Oil on canvas 50x36cm
42300 Portrait of a man  Portrait of a man   mk168 Oil on oak 50x36cm
42405 Portrait of a Man  Portrait of a Man   mk168 50x32cm Oil on oak
63545 Portrait of a Man  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
82597 Portrait of a Man with Baret and Scroll  Portrait of a Man with Baret and Scroll   Date 1521(1521) Medium Oil on oak Dimensions Height: 50 cm (19.7 in). Width: 36 cm (14.2 in). cjr
63729 Portrait of a Venetian Woman  Portrait of a Venetian Woman   1506-07 Oil on poplar panel, 28,5 x 21,5 cm Staatliche Museen, Berlin The painting is poorly conserved. Almost all the final layers of colour are missing. The eyes have been restored. Because of the absence of the topmost layer of colour, the painting has acquired a soft chromatic shading. Even if we know that D?rer executed it during his second sojourn in Italy, probably in the autumn of 1506 after the Feast of the Rose Garlands, workmanship seems particularly "Venetian." The refinement of the artist is clearly absent in the sketching of the hair. Some object is discernible in the curl hanging to the left. Only a few traces of the hairnet have been preserved, and the sky blue of the background, which is inexplicably divided into two sections, is probably no longer its original shade. In its original state, however, this half-bust must have been in the Venetian style, because of her full, soft shapes, delicately modeled with a measured use of light. We must count this painting among the most beautiful works D?rer produced during his second sojourn in Venice. The various attempts to identify the model - for example, as Agnes D?rer, because of the letters AD on the trimming of the clothes or the woman with her head turned in the middle right of the Feast of the Rose Garlands - have not held up to criticism. The letters are probably the initials of a motto.Artist:D?RER, Albrecht Title: Portrait of a Venetian Woman Painted in 1501-1550 , German - - painting : portrait
42388 Portrait of a woman  Portrait of a woman   mk168 c.1490 Oil on coniferous wood c.1490 47x36cm
42493 Portrait of a woman with Loose Hair  Portrait of a woman with Loose Hair   mk168 256x217mm Watercolor on canvas
33509 Portrait of a Young  Portrait of a Young   mk86 Venetian Woman 1505 Oil on wood 35x26cm Vienna,Kunsthistorisches Museum
63749 Portrait of a Young Girl  Portrait of a Young Girl   1507 Oil on panel tranferred from parchment, 30 x 20 cm Staatliche Museen, Berlin This small painting was in the collection of the Imhoff family of Nuremberg, and cited in their inventory from 1573-74 until 1628. In 1633, it was handed over, with the title Portrait of a Young Girl, with other works by D?rer, to Abraham Bloemart, an artist and merchant from Amsterdam. In 1899, the portrait reappears in London, and the firm P. and D. Colnaghi donated it to the Berlin art gallery. The delicate girl is portrayed with soft, curly blond hair, slightly dreamy her eyes, one somewhat lower than the other, a gentle, melancholic gaze; and well-defined, slightly parted lips. The red beret, worn sideways, with a little slit to the side, with a long red ruby and black pearl pendant, gives her a slightly cheeky air. The square green border of the red bodice sets off the upper part of her body. All these details put together have led to various interpretations. In addition to the fact that the "girl," when sold by the Imhoffs, was transformed into a "boy," Panofsky (1955) attributes an androgynous nature to her that could reveal the possible homosexual tendencies of the artist. A teasing letter of 1507 from the canonical Lorenz Behaim of Bamberg and the fact that the portrait does not seem to have been ordered would support this hypothesis. It has also been debated whether the painting was executed in Venice or after D?rer's return to Nuremberg. Considering the clothing to be typically German, there is no doubt as to its provenance.Artist:D?RER, Albrecht Title: Portrait of a Young Girl Painted in 1501-1550 , German - - painting : portrait
85311 Portrait of a Young Girl  Portrait of a Young Girl   Date 1507(1507) Medium Oil on panel tranferred from parchment Dimensions Height: 30 cm (11.8 in). Width: 20 cm (7.9 in). cjr
42297 Portrait of a Young man  Portrait of a Young man   mk168 378x271mm London British Museum
42394 Portrait of a young man  Portrait of a young man   mk168 29x21cm Original panel
42399 Portrait of a young man  Portrait of a young man   mk168 1506 Oil on wood 46x35cm
42401 Portrait of a Young Man  Portrait of a Young Man   mk168 1507 Oil on linden wood 35x29cm
63592 Portrait of a Young Man  Portrait of a Young Man   1521 Charcoal drawing on paper, 378 x 211 mm British Museum, London One of the portraits drawn sweepingly with charcoal during the journey to the Netherlands is this portrait of a young man whose identity has not yet been established. The scene is tightly framed, the bust of the portrayed man is moved right into the foreground, causing the wide cap to be cut off by the edges of the picture. His fashionable hat shows off to advantage the character head with the broad cheek bones and sensuous lips, which are depicted with great precision and delicacy.Artist:D?RER, Albrecht Title: Portrait of a Young Man Painted in 1501-1550 , German - - graphics : portrait
84738 Portrait of a Young Man  Portrait of a Young Man   Date 1507(1507) Medium Oil on linden Dimensions Height: 35 cm (13.8 in). Width: 29 cm (11.4 in). cjr
1042 Portrait of a Young Venetian Lady  Portrait of a Young Venetian Lady   1505 Art History Museum, Vienna
84282 Portrait of a Young Venetian Woman  Portrait of a Young Venetian Woman   Date 1505(1505) Medium Oil on elm panel Dimensions Height: 32.5 cm (12.8 in). Width: 24.5 cm (9.6 in). cjr
88043 Portrait of a Young Venetian Woman  Portrait of a Young Venetian Woman   1505(1505) Medium Oil on elm panel cyf
21355 Portrait of a Young Venetian Woman (mk08)  Portrait of a Young Venetian Woman (mk08)   1505 Oil on wood, 35x26cm Vienna,Kunsthistorisches Museum
39699 Portrait of a young Ventian Lady  Portrait of a young Ventian Lady   mk150 1505 32.5x24.5cm
76389 Portrait of an Unidentified Man  Portrait of an Unidentified Man   1524 50 ?? 36 cm cjr
78267 Portrait of an Unidentified Man  Portrait of an Unidentified Man   Date 1524(1524) Medium Deutsch: Holz Dimensions Deutsch: 50 x 36 cm cyf
63629 Portrait of an Unknown Man  Portrait of an Unknown Man   1520 Chalk, 365 x 258 mm Staatliche Museen, Berlin This is typical of the great late portraits. The line and the representation of form are fully refined, everything momentary in movement and expression being omitted. The subject fills most of the space; there is a dark background with a light band on top.Artist:D?RER, Albrecht Title: Portrait of an Unknown Man Painted in 1501-1550 , German - - graphics : portrait
92825 Portrait of an unknown man  Portrait of an unknown man   1521(1521) Medium oil on panel Dimensions 50 X 36 cm (19.7 X 14.2 in) cjr
88626 Portrait of Barbara Durer  Portrait of Barbara Durer   1490(1490) Medium Oil on pine panel Dimensions Height: 47 cm (18.5 in). Width: 38 cm (15 in). cjr
42301 Portrait of Bernhard von Reesen  Portrait of Bernhard von Reesen   mk16845.5x31.5cm oil on oak
94744 Portrait of Bernhart von Reesen  Portrait of Bernhart von Reesen   1521 Type Oil on panel Dimensions 46 cm x 32 cm (18 in x 13 in) cyf
52203 Portrait of Burkard von Speyer  Portrait of Burkard von Speyer   1506 Oil and tempera on panel, 32 x 26 cm
88343 Portrait of Burkard von Speyer  Portrait of Burkard von Speyer   1506(1506) Medium Oil and tempera on panel cyf
52207 Portrait of Elector Frederick the Wise of Saxony  Portrait of Elector Frederick the Wise of Saxony   1496 Tempera on canvas, 76 x 57 cm
1050 Portrait of Elsbeth Tucher  Portrait of Elsbeth Tucher   1499 Staatliche Kunstsammlungen, Kassel
91636 Portrait of Elsbeth Tucher  Portrait of Elsbeth Tucher   1499(1499) Medium oil on panel Dimensions Height: 29 cm (11.4 in). Width: 23 cm (9.1 in). cyf
63597 Portrait of Erasmus  Portrait of Erasmus   1520 Charcoal on paper, 37 x 27 cm Mus?e du Louvre, Paris In Brussels D?rer met Erasmus, the humanist scholar, and sketched his portrait which six years later he would use as the basis for an engraving. Born in Rotterdam in 1469, Desiderius Erasmus was the greatest European scholar of the 16th century. Using the philological methods pioneered by Italian humanists, he helped lay the groundwork for the historical-critical study of the past, especially in his studies of the Greek New Testament and the Church Fathers. His educational writings contributed to the replacement of the older scholastic curriculum by the new humanist emphasis on the classics. By criticizing ecclesiastical abuses, while pointing to a better age in the distant past, he encouraged the growing urge for reform, which found expression both in the Protestant Reformation and in the Catholic Counter-Reformation. Finally, his independent stance in an age of fierce confessional controversy - rejecting both Luther's doctrine of predestination and the powers that were claimed for the papacy - made him a target of suspicion for loyal partisans on both sides and a beacon for those who valued liberty more than orthodoxy.Artist:D?RER, Albrecht Title: Portrait of Erasmus Painted in 1501-1550 , German - - graphics : portrait
39696 Portrait of Fohann Kleberger  Portrait of Fohann Kleberger   mk150 1526 37x36.6cm
63623 Portrait of Frederick the Wise  Portrait of Frederick the Wise   1524 Engraving, 188 x 122 mm Art Institute, Chicago Frederick III, called the Wise, Elector of the Empire and Duke of Saxony (1463-1525), was a patron of art and science, the founder of the University of Wittenberg and a supporter of the Reformation, although he never openly espoused the doctrines of Martin Luther. He could easily have been elected Emperor but wisely declined the honour. One of the earliest patrons of D?rer, he commissioned a portrait (in 1496) and many other works. The inscription beneath this engraved portrait reads: "Sacred to Christ. He favoured the word of God with piety, worthy to be revered by posterity forever. Albrecht D?rer made this for the Duke Frederick of Saxony, Arch-Marshal, Elector of the Holy Roman Empire; B[ene] M[erenti] F[ecit] V[ivus] V[ivo], MDXXIIII." (The phrase connotes: "worthy of high praise even while still alive.") The engraving is based on a preparatory drawing, probably prepared during Frederick's stay at Nuremberg from November 1522 to February 1523. It could be pointed out that D?rer must have had a remarkable memory in order to add so much form and detail in the engraving that does not appear in the sketch from life, particularly the details of the eyes, the higher eyebrows and the revision of the cap. The portrait shows the fat but somehow tragic face of Frederick the Wise, one year before his death, in three-quarter profile, in contrast to the strict profile of Cardinal Albrecht of Brandenburg.Artist:D?RER, Albrecht Title: Portrait of Frederick the Wise Painted in 1501-1550 , German - - graphics : portrait
33456 Portrait of Hieronymus Holzschuher  Portrait of Hieronymus Holzschuher   mk86 1526 Oil on wood 48x36cm Berlin,
21277 Portrait of Hieronymus Holzschuher (mk08)  Portrait of Hieronymus Holzschuher (mk08)   1526 Oil on wood, 48x36cm Berlin,Gemaldegalerie, Statliche Museen zu Berlin-Preubischer Kultcrbesitz
83233 Portrait of Jakob Muffel  Portrait of Jakob Muffel   Date 1526(1526) Medium Oil on canvas, transferred from panel Dimensions Height: 48 cm (18.9 in). Width: 36 cm (14.2 in). cjr
87313 Portrait of Jakob Muffel  Portrait of Jakob Muffel   1526(1526) Medium Oil on canvas, transferred from panel cyf
88041 Portrait of Johannes Kleberger  Portrait of Johannes Kleberger   1526(1526) Medium Oil on linden cyf
63652 Portrait of Maximilian I  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
63747 Portrait of Michael Wolgemut  Portrait of Michael Wolgemut   1516 Oil and tempera on lindenwood, 29 x 27 cm Germanisches Nationalmuseum, Nuremberg After he had achieved great fame, D?rer depicted the master who had taught him to paint. On it he inscribed: `This portrait was done by Albrecht D?rer of his teacher, Michael Wolgemut, in 1516', to which he later added, `and he was 82 years old, and he lived until 1519, when he departed this life on St Andrew's Day morning before sunrise.' It is unclear from the inscription whether Wolgemut was 82 when he died or when the portrait had been painted three years earlier. Michael Wolgemut (1434/7-1519) had one of the largest artist's workshops in Germany. D?rer had served his apprenticeship there from 1486 until 1489 and Wolgemut must have been proud to have witnessed his former pupil's rapid success. In D?rer's portrait, everything is focused on the head, set against a neutral green background. The old man's features are not disguised, from his sunken eyes and gaunt cheeks to the loose skin around his neck. Wolgemut wears a fur-lined coat and a simple hat or scarf, perhaps the headgear he would have worn in his workshop to keep off the dust. His eyes are still alert and he has a thoughtful expression. D?rer does not depict a pitiable man, but marvels at his indomitable spirit.Artist:D?RER, Albrecht Title: Portrait of Michael Wolgemut Painted in 1501-1550 , German - - painting : portrait
1034 Portrait of Oswalt Krel  Portrait of Oswalt Krel   1499 Pinakothek, Munich
30448 Portrait of Oswolt Krel  Portrait of Oswolt Krel   mk68 Oil on limewood 19 1/2x15 1/4" Munich Alte Pinakothek 1499 Alte Pinakothek
42396 Portrait of Oswolt Krel  Portrait of Oswolt Krel   mk168 49.6x39cm Oil linden wood
63737 Portrait of Oswolt Krel  Portrait of Oswolt Krel   1499 Oil on panel, 50 x 39 cm (central), 50 x 16 cm (each side panel) Alte Pinakothek, Munich Inscription in the top left by someone else (?): OSWOLT KREL 1499. This portrait comes from the collection of the Princes Oettingen-Wallerstein, who had acquired it in 1812; if has been in its present location since 1928. It is presumed that Oswolt Krell, a merchant for the Ravensburg House in Nuremberg from 1495 to 1503, had asked the artist for a true portrait of representation. Its notable size, similar to that adopted by D?rer for the portrait of his father two years earlier, and its setting, a half-length, suggests this. In this way, it differs from the Tucher portraits, which were intended for private use. The background, as in the Tucher portraits (Schlossmuseum, Weimar), is divided between the curtain and landscape passage, unlike those, however, it is divided rather unevenly. The bright red curtain is wide and occupies most of the space on the right; the landscape, on the left, is reduced to a foreshortening that shows a small part of a river that meanders toward the back, behind a group of tall trees. The windowsill that separated the subject from the landscape in the Tucher paintings is absent. The figure represented, set with obvious grandiosity, is found in front of the curtain, highlighted by intense colour. The large fur-lined cloak is casually placed on the right shoulder only, to show, on the left side, the rich black garment with the puffed sleeve. To the disorderly folds of the cloak correspond the parallel horizontal folds of the sleeve and the vertical ones of the garment. The three-quarter position allows the painter to bring out the quality of the attire: the fur, silk shirt, and gold chain. The careful, fastidious representation of these meaningful details creates a powerful foundation for the setting of the head: vigorous, strong features, the pronounced nose and the strong-willed mouth, the furrowed eyebrows, as if from a sudden start or fright that makes him direct his gaze off to the side behind him. Everything works to make his face threateningly severe, which even the soft, light brown hair framing him does not attenuate. To the energetic expression of the face corresponds the nervous look of his left hand clutching his cloak and that of the contraction of the knotted fingers of the right hand that leans on an invisible window sill. Colour, form, and proportion heighten the expression of supreme resolution, an expression that is the result of a serious psychological study that D?rer conducted on the merchant, who was the same age as the artist and who was later to become the mayor of Lindau, his native city. The two side panels that represent two "sylvan men" are wings to the portrait. They bear the heraldic shields of the subject and his wife, Agathe von Esendorf. They originally let the portrait be closed from the retro; one could imagine, then, that despite the large dimensions, the painting was to be conserved closed. The present frame has been made recently.Artist:D?RER, Albrecht Title: Portrait of Oswolt Krel Painted in 1501-1550 , German - - painting : portrait
42298 Portrait of Rodrigo Fernandez d-Almada  Portrait of Rodrigo Fernandez d-Almada   mk168 373x271mm
52014 Portrait of St Sebastian with an Arrow  Portrait of St Sebastian with an Arrow   c. 1499 Oil on panel, 52 x 40 cm
94666 Portrait of the Artist Holding a Thistle  Portrait of the Artist Holding a Thistle   1493 Type Oil on vellum Dimensions 565 cm x 445 cm (222 in x 175 in) cyf
20959 Portrait of the Artist Holding an Erynganeum (mk05)  Portrait of the Artist Holding an Erynganeum (mk05)   Parchment on canvas 22 1/2 x 17 1/2''(57 x 45 cm)Entered the Louvre in 1922 R.F.2382 (S/AR)
26716 Portrait of the Artist with a Thistle  Portrait of the Artist with a Thistle   mk52 1493 Oil on parchment on canvas 56x44cm Louvre,Paris
28917 Portrait of the Artist's Father  Portrait of the Artist's Father   mk65 Oil on panel 18 11/16x15 9/16in
1048 Portrait of the Artist's Father_e  Portrait of the Artist's Father_e   1490 Galleria degli Uffizi, Florence
63654 Portrait of the Artist's Mother  Portrait of the Artist's Mother   1514 Charcoal drawing on paper, 421 x 303 mm Staatliche Museen, Berlin Two months before his mother's death, D?rer recorded her features in this famous drawing. The extreme naturalism of the portrait is a reference to the hard life the depicted woman had endured, for she had suffered from various illnesses and had given birth to 18 children, only three of which survived. While in the Middle Ages ugliness was equated solely with evil or death, here its function is mainly as a private record.Artist:D?RER, Albrecht Title: Portrait of the Artist's Mother Painted in 1501-1550 , German - - graphics : portrait
63631 Portrait of Ulrich  Portrait of Ulrich   1522 Chalk and charcoal, 415 x 320 mm Graphische Sammlung Albertina, Vienna This is a preliminary drawing for the woodcut of the same year, which carries over the line work almost completely ?not only the tight wavy parallel lines in the neck, but also the broad downward flow of the line over the shoulders (truly characteristic of a freehand drawing). Only the ear is more cartilaginous in the woodcut, and the background is composed of pure horizontal lines.Artist:D?RER, Albrecht Title: Portrait of Ulrich Varnb?hler Painted in 1501-1550 , German - - graphics : portrait
83512 Portrat Albrecht Durer der Altere  Portrat Albrecht Durer der Altere   1497(1497) Medium Oil on panel Dimensions Deutsch: 51 x 41 cm cyf
80549 Portrat der Barbara Durer  Portrat der Barbara Durer   Date Deutsch: um 1490-1493 English: c. 1490-1493 Medium Deutsch: Tannenholz Dimensions 47 x 38 cm (18.5 x 15 in) cyf
77147 Portrat der Barbara Durer, geb. Holper  Portrat der Barbara Durer, geb. Holper   c. 1490-1493 47 ?? 38 cm (18.5 ?? 15 in) cjr
77606 Portrat der Elsbeth Tucher  Portrat der Elsbeth Tucher   29 ?? 23,3 cm cjr
80907 Portrat der Elsbeth Tucher  Portrat der Elsbeth Tucher   1499(1499) Medium Deutsch: Lindenholz Dimensions Deutsch: 29 x 23,3 cm cyf
77551 Portrat der Felicitas Tucher  Portrat der Felicitas Tucher   1499(1499) Oil on panel 28 ?? 24 cm cjr
80838 Portrat der Felicitas Tucher  Portrat der Felicitas Tucher   1499(1499) Medium Oil on panel Dimensions Deutsch: 28 x 24 cm cyf
75318 Portrat des Hans Tucher  Portrat des Hans Tucher   1499 Oil on panel 28 X 24 cm cjr
77202 Portrat des Hans Tucher  Portrat des Hans Tucher   Date 1499 Medium Oil on panel Dimensions Deutsch: 28 ?? 24 cm cyf
77536 Portrat des Hieronymus Holzschuher  Portrat des Hieronymus Holzschuher   1526(1526) Oil on panel 48 ?? 36 cm cjr
80826 Portrat des Hieronymus Holzschuher  Portrat des Hieronymus Holzschuher   1526(1526) Medium Oil on panel Dimensions Deutsch: 48 x 36 cm cyf
74979 Portrat des Jacob Muffel  Portrat des Jacob Muffel   1526(1526) Medium Oil on panel 48 X 36 cm cjr
76588 Portrat des Jacob Muffel  Portrat des Jacob Muffel   Date 1526(1526) Medium Oil on panel cyf
81338 Portrat des Kaisers Maximilian I.  Portrat des Kaisers Maximilian I.   83 x 65 cm 1519 cjr
83167 Portrat des Kaisers Maximilians I  Portrat des Kaisers Maximilians I   1519 Medium Oil on panel cyf
80009 Portrat des Kaisers Maximilians I. vor grunem Grund  Portrat des Kaisers Maximilians I. vor grunem Grund   74 x 61,5 cm 1519 Oil on panel cjr
78803 Portrat des Michael Wolgemut  Portrat des Michael Wolgemut   1516 Oil on panel 29 x 27 cm cjr
81884 Portrat des Michael Wolgemut  Portrat des Michael Wolgemut   1516 Medium Oil on panel Dimensions Deutsch: 29 x 27 cm cyf
90783 Portrat des Oswald Krell  Portrat des Oswald Krell   1499(1499) Medium oil on panel Dimensions Deutsch: 49,6 x 39 cm cjr
82496 Portrat des Rodrigo de Almada  Portrat des Rodrigo de Almada   1521(1521) Medium Oil on panel Dimensions Deutsch: 50 x 32 cm cyf
77305 Portrat eines bartigen Mannes mit roter Kappe  Portrat eines bartigen Mannes mit roter Kappe   1520 Oil on canvas 40 ?? 30 cm cjr
80704 Portrat eines bartigen Mannes mit roter Kappe  Portrat eines bartigen Mannes mit roter Kappe   1520 Medium Oil on canvas Dimensions Deutsch: 40 x 30 cm cyf
75025 Portrat eines jungen Mannes  Portrat eines jungen Mannes   1507(1507) Oil on panel Lindenholz 35 X 29 cm cjr
82730 Portrat eines jungen Mannes  Portrat eines jungen Mannes   1500(1500) Medium Oil on panel Dimensions 28 x 21 cm cyf
75728 Portrat eines jungen Mannes vor grunem Hintergrund  Portrat eines jungen Mannes vor grunem Hintergrund   1506(1506) Oil on panel 50 ?? 40 cm cjr
77497 Portrat eines jungen Mannes vor grunem Hintergrund  Portrat eines jungen Mannes vor grunem Hintergrund   Date 1506(1506) Medium Oil on panel Dimensions Deutsch: 50 ?? 40 cm cyf
75179 Portrat eines Unbekannten  Portrat eines Unbekannten   1524(1524) Oil on panel 50 X 36 cm cjr
83395 Portrat Friedrichs des Weisen  Portrat Friedrichs des Weisen   Oil on canvas Dimensions Deutsch: 76 x 57 cm cyf
42478 Preparatory drawing fro the Heller Altarpiece  Preparatory drawing fro the Heller Altarpiece   mk168 407x240mm
42339 Preparatory Study for the Engraving  Preparatory Study for the Engraving   mk168 Pen and ink on paper 246x185mm
42482 Project Drawing  Project Drawing   mk168 391x263mm Pen and ink on paper
42242 Provost Lorenz Tucher at the Prayer Bench  Provost Lorenz Tucher at the Prayer Bench   mk168 1485
42354 Prudentia  Prudentia   mk168 202x135mm
63637 Resurrection  Resurrection   1512 Engraving, 119 x 75 mm Metropolitan Museum of Art, New York Sheet No. 15 of the Engraved Passion. Christ is seen holding the Flag of Peace in his left hand. In both the woodcut versions and in the Engraved Passion Christ is shown in a triumphant stance, Italianate in manner, and contrasted with the sleeping guards. In this instance Christ is standing on his sarcophagus, while in the Large Woodcut Passion he is shown suspended in the air above it.Artist:D?RER, Albrecht Title: Resurrection (No. 15) Painted in 1501-1550 , German - - graphics : religious
63673 Rhinoceros  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
42312 Rustic Couple  Rustic Couple   mk168 109x77mm
76632 Salvator Mundi  Salvator Mundi   c. 1504 Oil on panel 57 ?? 47 cm cjr
78522 Salvator Mundi  Salvator Mundi   Deutsch: um 1504 English: c. 1504 Medium Oil on panel Dimensions Deutsch: 57 x 47 cm cyf
63588 Satyr Family  Satyr Family   1505 Engraving, 115 x 70 mm Art Institute, Chicago Formerly erroneously called Pan and Syrinx or Birth of Adonis, this print is based on Lucian's description of a painting by Zeuxis. It was probably conceived as a companion piece to Apollo and Diana. The engraving is developed from the drawing Centauress Nursing her Young. The instrument played by the satyr is a Platterspiel, a reed instrument equipped with a bladder similar to that of a bagpipe. The scene is staged in a forest even denser than that of Adam and Eve.Artist:D?RER, Albrecht Title: Satyr Family Painted in 1501-1550 , German - - graphics : mythological
63578 Seated Prophet  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
63664 Seated Woman  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
63682 Sebastian Brant  Sebastian Brant   1520 Silverpoint on paper, 194 x 147 mm Staatliche Museen, Berlin The silver point drawing presumably contains a portrait of the Basle legal scholar and humanist Sebastian Brant, created during the journey to the Netherlands. Brant, who had been D?rer's sponsor and client during his stay in Basle, was staying in the Netherlands at the same time as the artist in order to represent the city of Strasbourg at the court of Emperor Charles V. Seen in a three-quarter profile looking to the right, he appears to us as a critical, older gentleman. Though his arms and hands are only sketched in, D?rer concentrated particularly on creating a natural depiction of the face. In about 1520, when the portrait must have been produced, Brant had already gained international fame through his moralizing and satirizing poetic work, the Ship of Fools.Artist:D?RER, Albrecht Title: Sebastian Brant (?) Painted in 1501-1550 , German - - graphics : portrait
74994 Selbstmord der Lukretia  Selbstmord der Lukretia   1518(1518) Oil on linden 168 X 74,8 cm cjr
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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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