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Albrecht Durer
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Oil Painting ID: 63575
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Man of Sorrows by the Column
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1509 Engraving, 116 x 75 mm Metropolitan Museum of Art, New York Sheet No. 1 of the Engraved Passion. Generally considered the frontispiece of the Engraved Passion. This print opens the Passion series, although it is not historical but a representation outside the Gospels. As such, it probably derives from Passion plays. In this version Christ is shown standing. Later, D?rer found the sitting position preferable and used it for the frontispieces of his woodcut Passions. The combination of the Man of Sorrows with the Virgin and St John was already used by Schongauer. The iconography is based on a vision experienced by St Bridget. The arrangement of the bystanders in half-length is quite new and remarkable. After this work D?rer suspended his engraving activity until 1511 and suddenly returned to producing a series of woodcuts after a lapse of more than five years. He issued more than thirty of the thirty-seven subjects of the Small Woodcut Passion during this period. The complete series was published in 1511. At the same time D?rer finally completed the Heller Altarpiece. In 1510 D?rer also prepared the additional sheets of the Large Woodcut Passion and the [woodcut] Life of the Virgin.Artist:D?RER, Albrecht Title: Man of Sorrows by the Column (No. 1) Painted in 1501-1550 , German - - graphics : religious
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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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