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Oljemålning Nr:: 63578
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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
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Oljemålning Nr:: 63579
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St Eustace
1501 Engraving, 355 x 259 mm Fogg Art Museum, Cambridge The print is often erroneously called "St Hubert." This is D?rer's largest single-leaf copper engraving. He frequently sold impressions of it or gave them away as presents during his journey to the Netherlands. The legend of St Eustace is narrated in the Legenda aurea and is freely adapted in D?rer's picture. The Roman officer Placidus was converted to Christianity by a vision of a stag who spoke with the voice of Christ and carried a crucifix in its antlers, and he then took the name of Eustace. Here, the scene is taking place in the middle of a forest landscape, next to a pond. The statue-like depiction of the horse and the greyhounds, which are shown in five different body positions, shows that D?rer was more interested in reproducing proportions than in creating a precisely detailed account of the Christian legend. D?rer carefully avoided any overlapping of the animals. In this end and other details this print is closely related to Pisanello's painting of the same subject (National Gallery, London). The unusually large size of the plate appears to have caused some difficulty in printing. Even some of the best impressions have some squeezed lines near the edges. There are impressions on satin, all posthumous, at Coburg, Boston, Vienna, Gotha and Frankfurt.Artist:D?RER, Albrecht Title: St Eustace Painted in 1501-1550 , German - - graphics : religious
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Oljemålning Nr:: 63580
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Nemesis or Good Fortune
1502 Engraving, 332 x 232 mm Staatliche Kunsthalle, Karlsruhe This engraving was created between 1501 and 1503 and was one of D?rer's main large format engravings. The female figure is derived from the poem Manto by the Italian poet and humanist Poliziano, which D?rer presumably became acquainted with when studying in the library of his humanist friend, Willibald Pirckheimer. The poem combines the goddesses of Revenge and Fate. The female shape is floating along above the clouds on a globe and with eagle wings, holding a goblet in her right hand and bridle in her left. She is the result of D?rer's studies of Vitruvius' proportions. Copies of this print were frequently given as presents by D?rer during his trip to the Netherlands during 1520-21. Vasari describes it as "a nude figure floating in the clouds, representing Temperance, with magnificent wings, a golden cup and reins in her hands." The reins signify restraint from temptation that should be exercised by man; the sphere uncertainty. The figure is proportioned according to the canon of Vitruvius. The landscape below has been identified as the village of Klausen (Chiusa) in the Valle d'Isarco in the Tyrol, which lay on D?rer's route of travel to Venice.Artist:D?RER, Albrecht Title: Nemesis or Good Fortune Painted in 1501-1550 , German - - graphics : mythological
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Oljemålning Nr:: 63581
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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
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Oljemålning Nr:: 63582
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Madonna on a Grassy Bench
1503 Engraving, 115 x 70 mm Fogg Art Museum, Cambridge Except for The Four Witches, this is the first of D?rer's engravings to bear a date. Henceforth he dated them consistently. Vasari remarks that D?rer here "surpassed Martin Schongauer, as well as himself." This engraving, based on a preparatory drawing, is the most sensitive of the early Madonnas, quite in the convivial style of the Life of the Virgin woodcut series.Artist:D?RER, Albrecht Title: Madonna on a Grassy Bench Painted in 1501-1550 , German - - graphics : religious
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Oljemålning Nr:: 63583
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The Adoration
1524 Pen, 215 x 294 mm Graphische Sammlung Albertina, Vienna Perhaps this is a study for the introductory piece of the last, uncompleted, Passion woodcut series. The nobility of the composition is combined with a truly radiant beauty of line.Artist:D?RER, Albrecht Title: The Adoration of the Wise Man Painted in 1501-1550 , German - - graphics : study
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Oljemålning Nr:: 63584
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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
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Oljemålning Nr:: 63585
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Iris
1503 Brush, pen, ink, watercolour and body-colour, height: 77cm Kunsthalle, Bremen The flower (Iris trojana, formerly Iris germanica) was konown in the 15th century only in Venice. D?rer was probably inspired by the sketchbook of Jacopo Bellini during his fist stay in Venice.Artist:D?RER, Albrecht Title: Iris Painted in 1501-1550 , German - - graphics : other
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Oljemålning Nr:: 63586
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The Negress Katherina
1521 Silverpoint drawing on paper, 20 x 14 cm Galleria degli Uffizi, Florence D?rer drew the Negress Katherina, the servant of the Portuguese factor Jo?o Brand?o in Antwerp, when she was aged "20 Jar," according to the handwritten note. The portrait drawing is part of a group of works that were created for reasons of personal interest. The portrayed woman is gazing directly at the observer. The curves of her face are modeled with fine lines and cross-hatchings.Artist:D?RER, Albrecht Title: The Negress Katherina Painted in 1501-1550 , German - - graphics : portrait
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Oljemålning Nr:: 63587
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Coat-of-Arms with a Skull
1503 Engraving, 220 x 156 mm Art Institute, Chicago This engraving is not mentioned in D?rer's diary of his trip to the Low Countries in 1520/21. The subject seems to be connected with the Bavarian War of 1503. Duke George the Rich had died that year without male issue. Contrary to Imperial law, he left his lands to his daughter. This led to the War of the Bavarian Succession, in which the city of Nuremberg was deeply involved. Her army captured much of the surrounding territory and Nuremberg became the largest of the "free cities" of the Empire. This engraving appears to be an allegory of this war, which ended badly for the ill-advised titled lady. The Emperor deprived her of her lands, while Nuremberg was permitted to retain the conquered territory.Artist:D?RER, Albrecht Title: Coat-of-Arms with a Skull Painted in 1501-1550 , German - - graphics : other
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Oljemålning Nr:: 63588
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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
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Oljemålning Nr:: 63589
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St George on Horseback
1505 (completed 1508) Engraving, 110 x 86 mm Metropolitan Museum of Art, New York The last work before D?rer's sudden departure on a second trip to Venice in order to escape the Great Plague. This engraving was probably almost complete because the date 1505 had already been engraved in the plate. It was subsequently corrected to read 1508. The background is deliberately reduced in scale for sake of contrast and any indication of a landscape is omitted. D?rer in this engraving sought to combine the monumentality of The Large Horse with the elegance of The Small Horse. Pictured from behind, this unusual stance effectively conveys a feeling of pause before the saintly warrior forges ahead to further defend the Faith. It was also used in the Ober St. Veit Altarpiece, which was completed in D?rer's workshop during his absence in Italy.Artist:D?RER, Albrecht Title: St George on Horseback Painted in 1501-1550 , German - - graphics : religious
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Oljemålning Nr:: 63590
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Annunciation
1526 Pen drawing, 288 x 211 mm Mus?e Cond? ChantillyArtist:D?RER, Albrecht Title: Annunciation Painted in 1501-1550 , German - - graphics : study
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Oljemålning Nr:: 63591
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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
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Oljemålning Nr:: 63592
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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
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Oljemålning Nr:: 63593
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Study of a Man Aged
1521 Brush drawing on gray violet primed paper, 415 x 282 mm Graphische Sammlung Albertina, Vienna D?rer prepared the painting of St Jerome (Museu Nacional de Arte Antiga, Lisbon) in several sketches. His model was a 93 year-old man from Antwerp. In this naturalistic brush drawing, the old man is already leaning his head on his hand, but in contrast with the painting is engrossed in his studies. In a handwritten note above the picture D?rer informs us that: "The man was 93 years old and still healthy."Artist:D?RER, Albrecht Title: Study of a Man Aged 93 Painted in 1501-1550 , German - - graphics : study
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Oljemålning Nr:: 63594
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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
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Oljemålning Nr:: 63595
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Five Male Nudes
185 x 195 mm Staatliche Museen, Berlin This drawing, in woodcut style, may have been a study for a Resurrection.Artist:D?RER, Albrecht Title: Five Male Nudes Painted in 1501-1550 , German - - graphics : study
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Oljemålning Nr:: 63596
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Sudarium Displayed by Two Angels
1513 Engraving, 102 x 140 mm Metropolitan Museum of Art, New York D?rer mentions this engraving in his diary of the journey to the Netherlands on two occasions, August 19 and August 20, 1520, when he gave copies away as presents. He refers to it as "Veronicam." It is one of the very few D?rer engravings in horizontal format. It is the crowning representation of the Passion series. The new face of Christ, created by D?rer, appears here in its purest form. The features of the Saviour bear an unmistakable resemblance to D?rer's own. Definitely heraldic in character, the angels are balanced with almost perfect symmetry, yet subtly differentiated in pose and gesture. The Holy Face fastens its eyes on the beholder with hypnotic intensity. The likeness of Christ served as the basis for a large woodcut sometimes attributed to Hans Sebald Beham.Artist:D?RER, Albrecht Title: Sudarium Displayed by Two Angels Painted in 1501-1550 , German - - graphics : religious
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Oljemålning Nr:: 63597
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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
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