|
ID |
Image |
Painting (From A to Z) |
Details |
|
42367 |
|
A Duck |
mk168
1515
233x127mm
|
|
42338 |
|
A Grayhound |
mk168
145x196mm
|
|
42361 |
|
A Lobster |
mk168
247x429mm
1495
|
|
42377 |
|
A Mountain hut in Disrepair |
mk168
Pen and ink with watercolor on paper
372x262mm
|
|
42359 |
|
A Nosegay of Violets |
mk168
117x104mm
|
|
42319 |
|
A Nuremberg Lady Dressed to go to a Dance |
mk168
325x218mm
|
|
42315 |
|
A Nuremberg lady Dressed to go to Church |
mk168
317x172mm
|
|
42314 |
|
A Nuremberg Lady in Everyday |
mk168
Pen and ink on paper with Water-color
284x130mm
|
|
42381 |
|
A Pond in the woods |
mk168
262x365mm
Watercolor and body Color on paper
|
|
42376 |
|
A Tree in a Quarry |
mk168
296x219mm
|
|
42279 |
|
A Venetian lady |
mk168
28x21cm
Oil on poplar wood
|
|
42327 |
|
A Woman of Nuremberg and one of venice |
mk168
241x160mm
|
|
63621 |
|
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 |
mk168
241x226mm
|
|
42278 |
|
A Young lady of Venice |
mk168
Oil on elmwood
32x25cm
|
|
63675 |
|
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 |
mk61
1507
Oil on panel
209x81cm
|
|
42332 |
|
Adam |
mk168
Oil on wood
209x81cm
|
|
82806 |
|
Adam |
1507(1507)
Medium Oil on panel
Dimensions Deutsch: 209 x 81 cm
cyf |
|
40299 |
|
Adam and Eve |
mk156
1507
Oil on panel
|
|
42333 |
|
Adam and Eve |
mk168
252x195mm
|
|
58705 |
|
Adam and Eve |
Adam and Eve, by Albrecht D??rer (1507). |
|
63661 |
|
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 |
1507(1507)
209 X 81 & 209 X 83 cm
cjr |
|
77333 |
|
Adam and Eve |
Français : tableau
Dimensions 209 ?? 81 & 209 ?? 83 cm
cyf |
|
45409 |
|
Adam and Eves |
mk186
around 1507
Madrids Museo del Prado |
|
40290 |
|
Adoration of the Magi |
mk156
1504
Oil on panel
98x112cm
|
|
63739 |
|
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 |
1511
Art History Museum, Vienna |
|
42409 |
|
Agnes Durer Netherlandish Costume |
mk168
407x271mm
|
|
42306 |
|
Agony in the Garden |
mk168
221x156mm
|
|
42430 |
|
Agony in the Garden |
mk168
Woodcut
389x282mm
|
|
42442 |
|
Agony in the Garden |
mk168
1508
118x75mm
|
|
42385 |
|
Albrech Durer the Elder with Rosary |
mk168
47.5x39.5cm
Oil on wood
|
|
67617 |
|
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 |
mk168
cf.139.
|
|
42215 |
|
Albrecht Durer the Elder |
mk168
Oil on limewood
51x40cm
London
National Gallery
|
|
42499 |
|
Albrecht Durer-s Four Apostles |
mk168
|
|
42500 |
|
Albrecht Durer-s Four Apostles |
mk168
|
|
42501 |
|
Albrecht Durer-s Four Apostles |
mk168
|
|
42502 |
|
Albrecht Durer-s Four Apostles |
mk168
|
|
42503 |
|
Albrecht Durer-s Four Apostles |
mk168
|
|
42504 |
|
Albrecht Durer-s Four Apostles |
mk168
|
|
94699 |
|
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 |
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 |
1506
Narodni Galerie, Prague |
|
80478 |
|
Alte mit Geldbeutel |
Date 1507
Medium Deutsch: Lindenholz
Dimensions Deutsch: 35 x 29 cm
cjr |
|
84745 |
|
Alte mit Geldbeutel |
1507
Medium Deutsch: Lindenholz
Dimensions Deutsch: 35 x 29 cm
cyf |
|
52056 |
|
Amorous Peasants |
Drawing Pinacoteca Ambrosiana |
|
42283 |
|
An architect |
mk168
386x263mm
|
|
42274 |
|
An orinetal Ruler Enthroned with traces of the artist-s monogram |
mk168
Pen and ink on paper
306x197mm
|
|
70227 |
|
Anbetung der Konige Detail |
Medium Oil on panel
Dimensions 098 X 111 cm
|
|
73161 |
|
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 |
1504
Oil on panel
98 X 111 cm (38.58 X 43.70 in)
|
|
71883 |
|
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 |
mk168
1519
oIL
60X50CM
|
|
63590 |
|
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 |
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 |
mk168
157x97mm
|
|
63581 |
|
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 |
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 |
1516(1516)
Oil on canvas
46 ?? 38 cm
cjr |
|
77928 |
|
Apostel Jakobus |
1516(1516)
Medium Oil on canvas
Dimensions Deutsch: 46 ?? 38 cm
cyf |
|
74471 |
|
Apostel Philippus |
1516(1516)
Leinwand
46 X 38 cm (18.11 X 14.96 in)
cjr |
|
75893 |
|
Apostel Philippus |
Date 1516(1516)
Dimensions 46 ?? 38 cm (18.1 ?? 15 in)
cyf
|
|
42347 |
|
Arion |
mk168
142x234mm
|
|
57287 |
|
Artist self-portrait |
mk255 for in 1493. 0.56 x 0.44 meters canvas. Paris, the Louvre |
|
42323 |
|
Bath Attendant |
mk168
1493
Pen and ink on paper
272x147mm |
|
42384 |
|
Bearded Man in a Red cap |
mk168
40x30cn
1520
|
|
63627 |
|
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 |
1518
Medium Oil on panel
Dimensions Deutsch: 53 x 43 cm
cyf |
|
63584 |
|
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 |
c. 1498
Oil on panel
147 X 118 cm
cjr |
|
77324 |
|
Beweinung Christi |
Deutsch: um 1498
English: c. 1498
Medium Oil on panel
cyf |
|
83392 |
|
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 |
c. 1494-1497
Oiil on wood
23,1 x 17,4 cm
cjr |
|
83928 |
|
Bubender Hieronymus |
English: c. 1494-1497
cyf |
|
42277 |
|
Burkard of Speyer |
mk168
Oil on wood
32x27cm
|
|
42413 |
|
Cardinal Albrecht of Bran-Denburg |
mk168
1519
146x96mm
|
|
42414 |
|
Cardinal Albrecht of Bran-Denburg |
mk168
428x323mm
Chalk on paper
|
|
42412 |
|
Cardinal Albrecht of Bran-Denburg in portrait |
mk168
174x120mm
|
|
63608 |
|
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 |
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 |
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 |
mk168
1512
118x74mm
|
|
1043 |
|
Christ Among the Doctors |
1506
Foundation Thyssen Bornemisza, Madrid |
|
42439 |
|
Christ and the Doctors |
mk168
Woodcut
300x208mm
|
|
42262 |
|
Christ as Man of Sorrows |
mk168
oil on fir
30x19cm
|
|
1056 |
|
Christ as the Man of Sorrows |
1493
Staatliche Kunsthalle, Karlsruhe |
|
42450 |
|
Christ Bearing the Cross |
mk168
1512
117x74mm
|
|
42303 |
|
Christ Before Caiaphas |
mk168
283x178mm
|
|
63591 |
|
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 |
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 |
mk168
1512
117x74mm
|
|
42293 |
|
Christ Carrying the Cross |
mk168
210x285mm
Pen and ink on paper
|
|
42294 |
|
Christ Carrying the Cross |
mk168
210x285mm
|
|
63605 |
|
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 |
mk168
392x280mm
1510
Woodcut
|
|
42259 |
|
Christ on the Cross |
mk168
220x133mm
|
|
42245 |
|
Christ on the Cross between the Virgin and St.John |
mk168
Pen and ink on paper
310x227mm
|
