|
ID |
Image |
Painting(From A to Z) |
Details |
|
28090 |
|
Portrait of a Man |
mk61
1524
Oil on canvas
50x36cm
|
|
42300 |
|
Portrait of a man |
mk168
Oil on oak
50x36cm
|
|
42405 |
|
Portrait of a Man |
mk168
50x32cm
Oil on oak
|
|
63545 |
|
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 |
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 |
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 |
mk168
c.1490
Oil on coniferous wood
c.1490
47x36cm
|
|
42493 |
|
Portrait of a woman with Loose Hair |
mk168
256x217mm
Watercolor on canvas
|
|
33509 |
|
Portrait of a Young |
mk86
Venetian Woman
1505
Oil on wood
35x26cm
Vienna,Kunsthistorisches Museum
|
|
63749 |
|
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 |
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 |
mk168
378x271mm
London
British Museum
|
|
42394 |
|
Portrait of a young man |
mk168
29x21cm
Original panel
|
|
42399 |
|
Portrait of a young man |
mk168
1506
Oil on wood
46x35cm
|
|
42401 |
|
Portrait of a Young Man |
mk168
1507
Oil on linden wood
35x29cm
|
|
63592 |
|
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 |
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 |
1505
Art History Museum, Vienna |
|
84282 |
|
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 |
1505(1505)
Medium Oil on elm panel
cyf |
|
21355 |
|
Portrait of a Young Venetian Woman (mk08) |
1505
Oil on wood,
35x26cm
Vienna,Kunsthistorisches Museum |
|
39699 |
|
Portrait of a young Ventian Lady |
mk150
1505
32.5x24.5cm
|
|
76389 |
|
Portrait of an Unidentified Man |
1524
50 ?? 36 cm
cjr |
|
78267 |
|
Portrait of an Unidentified Man |
Date 1524(1524)
Medium Deutsch: Holz
Dimensions Deutsch: 50 x 36 cm
cyf |
|
63629 |
|
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 |
1521(1521)
Medium oil on panel
Dimensions 50 X 36 cm (19.7 X 14.2 in)
cjr |
|
88626 |
|
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 |
mk16845.5x31.5cm
oil on oak
|
|
94744 |
|
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 |
1506 Oil and tempera on panel, 32 x 26 cm |
|
88343 |
|
Portrait of Burkard von Speyer |
1506(1506)
Medium Oil and tempera on panel
cyf |
|
52207 |
|
Portrait of Elector Frederick the Wise of Saxony |
1496 Tempera on canvas, 76 x 57 cm |
|
1050 |
|
Portrait of Elsbeth Tucher |
1499
Staatliche Kunstsammlungen, Kassel |
|
91636 |
|
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 |
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 |
mk150
1526
37x36.6cm
|
|
63623 |
|
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 |
mk86
1526
Oil on wood
48x36cm
Berlin,
|
|
21277 |
|
Portrait of Hieronymus Holzschuher (mk08) |
1526
Oil on wood,
48x36cm
Berlin,Gemaldegalerie,
Statliche Museen
zu Berlin-Preubischer Kultcrbesitz |
|
83233 |
|
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 |
1526(1526)
Medium Oil on canvas, transferred from panel
cyf |
|
88041 |
|
Portrait of Johannes Kleberger |
1526(1526)
Medium Oil on linden
cyf |
|
63652 |
|
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 |
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 |
1499
Pinakothek, Munich |
|
30448 |
|
Portrait of Oswolt Krel |
mk68
Oil on limewood
19 1/2x15 1/4"
Munich
Alte Pinakothek
1499
Alte Pinakothek
|
|
42396 |
|
Portrait of Oswolt Krel |
mk168
49.6x39cm
Oil linden wood
|
|
63737 |
|
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 |
mk168
373x271mm
|
|
52014 |
|
Portrait of St Sebastian with an Arrow |
c. 1499
Oil on panel,
52 x 40 cm |
|
94666 |
|
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) |
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 |
mk52
1493
Oil on parchment on canvas
56x44cm
Louvre,Paris
|
|
28917 |
|
Portrait of the Artist's Father |
mk65
Oil on panel
18 11/16x15 9/16in
|
|
1048 |
|
Portrait of the Artist's Father_e |
1490
Galleria degli Uffizi, Florence |
|
63654 |
|
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 |
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 |
1497(1497)
Medium Oil on panel
Dimensions Deutsch: 51 x 41 cm
cyf |
|
80549 |
|
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 |
c. 1490-1493
47 ?? 38 cm (18.5 ?? 15 in)
cjr |
|
77606 |
|
Portrat der Elsbeth Tucher |
29 ?? 23,3 cm
cjr |
|
80907 |
|
Portrat der Elsbeth Tucher |
1499(1499)
Medium Deutsch: Lindenholz
Dimensions Deutsch: 29 x 23,3 cm
cyf |
|
77551 |
|
Portrat der Felicitas Tucher |
1499(1499)
Oil on panel
28 ?? 24 cm
cjr |
|
80838 |
|
Portrat der Felicitas Tucher |
1499(1499)
Medium Oil on panel
Dimensions Deutsch: 28 x 24 cm
cyf |
|
75318 |
|
Portrat des Hans Tucher |
1499
Oil on panel
28 X 24 cm
cjr |
|
77202 |
|
Portrat des Hans Tucher |
Date 1499
Medium Oil on panel
Dimensions Deutsch: 28 ?? 24 cm
cyf |
|
77536 |
|
Portrat des Hieronymus Holzschuher |
1526(1526)
Oil on panel
48 ?? 36 cm
cjr |
|
80826 |
|
Portrat des Hieronymus Holzschuher |
1526(1526)
Medium Oil on panel
Dimensions Deutsch: 48 x 36 cm
cyf |
|
74979 |
|
Portrat des Jacob Muffel |
1526(1526)
Medium Oil on panel
48 X 36 cm
cjr |
|
76588 |
|
Portrat des Jacob Muffel |
Date 1526(1526)
Medium Oil on panel
cyf |
|
81338 |
|
Portrat des Kaisers Maximilian I. |
83 x 65 cm
1519
cjr |
|
83167 |
|
Portrat des Kaisers Maximilians I |
1519
Medium Oil on panel
cyf |
|
80009 |
|
Portrat des Kaisers Maximilians I. vor grunem Grund |
74 x 61,5 cm
1519
Oil on panel
cjr |
|
78803 |
|
Portrat des Michael Wolgemut |
1516
Oil on panel
29 x 27 cm
cjr |
|
81884 |
|
Portrat des Michael Wolgemut |
1516
Medium Oil on panel
Dimensions Deutsch: 29 x 27 cm
cyf |
|
90783 |
|
Portrat des Oswald Krell |
1499(1499)
Medium oil on panel
Dimensions Deutsch: 49,6 x 39 cm
cjr |
|
82496 |
|
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 |
1520
Oil on canvas
40 ?? 30 cm
cjr |
|
80704 |
|
Portrat eines bartigen Mannes mit roter Kappe |
1520
Medium Oil on canvas
Dimensions Deutsch: 40 x 30 cm
cyf |
|
75025 |
|
Portrat eines jungen Mannes |
1507(1507)
Oil on panel
Lindenholz
35 X 29 cm
cjr |
|
82730 |
|
Portrat eines jungen Mannes |
1500(1500)
Medium Oil on panel
Dimensions 28 x 21 cm
cyf |
|
75728 |
|
Portrat eines jungen Mannes vor grunem Hintergrund |
1506(1506)
Oil on panel
50 ?? 40 cm
cjr |
|
77497 |
|
Portrat eines jungen Mannes vor grunem Hintergrund |
Date 1506(1506)
Medium Oil on panel
Dimensions Deutsch: 50 ?? 40 cm
cyf |
|
75179 |
|
Portrat eines Unbekannten |
1524(1524)
Oil on panel
50 X 36 cm
cjr |
|
83395 |
|
Portrat Friedrichs des Weisen |
Oil on canvas
Dimensions Deutsch: 76 x 57 cm
cyf |
|
42478 |
|
Preparatory drawing fro the Heller Altarpiece |
mk168
407x240mm
|
|
42339 |
|
Preparatory Study for the Engraving |
mk168
Pen and ink on paper
246x185mm
|
|
42482 |
|
Project Drawing |
mk168
391x263mm
Pen and ink on paper
|
|
42242 |
|
Provost Lorenz Tucher at the Prayer Bench |
mk168
1485
|
|
42354 |
|
Prudentia |
mk168
202x135mm
|
|
63637 |
|
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 |
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 |
mk168
109x77mm
|
|
76632 |
|
Salvator Mundi |
c. 1504
Oil on panel
57 ?? 47 cm
cjr |
|
78522 |
|
Salvator Mundi |
Deutsch: um 1504
English: c. 1504
Medium Oil on panel
Dimensions Deutsch: 57 x 47 cm
cyf |
|
63588 |
|
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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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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63664 |
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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 |
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63682 |
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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 |
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74994 |
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Selbstmord der Lukretia |
1518(1518)
Oil on linden
168 X 74,8 cm
cjr |
