Toutes peintures ā l'huile d'Albrecht Durer
Choice ID Image  Painting (From A to Z)       Details 
42367 A Duck  A Duck   mk168 1515 233x127mm
42338 A Grayhound  A Grayhound   mk168 145x196mm
42361 A Lobster  A Lobster   mk168 247x429mm 1495
42377 A Mountain hut in Disrepair  A Mountain hut in Disrepair   mk168 Pen and ink with watercolor on paper 372x262mm
42359 A Nosegay of Violets  A Nosegay of Violets   mk168 117x104mm
42319 A Nuremberg Lady Dressed to go to a Dance  A Nuremberg Lady Dressed to go to a Dance   mk168 325x218mm
42315 A Nuremberg lady Dressed to go to Church  A Nuremberg lady Dressed to go to Church   mk168 317x172mm
42314 A Nuremberg Lady in Everyday  A Nuremberg Lady in Everyday   mk168 Pen and ink on paper with Water-color 284x130mm
42381 A Pond in the woods  A Pond in the woods   mk168 262x365mm Watercolor and body Color on paper
42376 A Tree in a Quarry  A Tree in a Quarry   mk168 296x219mm
42279 A Venetian lady  A Venetian lady   mk168 28x21cm Oil on poplar wood
42327 A Woman of Nuremberg and one of venice  A Woman of Nuremberg and one of venice   mk168 241x160mm
63621 A Young Girl of Cologne  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  A Young Hare   mk168 241x226mm
42278 A Young lady of Venice  A Young lady of Venice   mk168 Oil on elmwood 32x25cm
63675 Abduction of a Woman  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  Adam   mk61 1507 Oil on panel 209x81cm
42332 Adam  Adam   mk168 Oil on wood 209x81cm
82806 Adam  Adam   1507(1507) Medium Oil on panel Dimensions Deutsch: 209 x 81 cm cyf
40299 Adam and Eve  Adam and Eve   mk156 1507 Oil on panel
42333 Adam and Eve  Adam and Eve   mk168 252x195mm
58705 Adam and Eve  Adam and Eve   Adam and Eve, by Albrecht D??rer (1507).
63661 Adam and Eve  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  Adam and Eve   1507(1507) 209 X 81 & 209 X 83 cm cjr
77333 Adam and Eve  Adam and Eve   Français : tableau Dimensions 209 ?? 81 & 209 ?? 83 cm cyf
45409 Adam and Eves  Adam and Eves   mk186 around 1507 Madrids Museo del Prado
40290 Adoration of the Magi  Adoration of the Magi   mk156 1504 Oil on panel 98x112cm
63739 Adoration of the Magi  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  Adoration of the Trinity   1511 Art History Museum, Vienna
42409 Agnes Durer Netherlandish Costume  Agnes Durer Netherlandish Costume   mk168 407x271mm
42306 Agony in the Garden  Agony in the Garden   mk168 221x156mm
42430 Agony in the Garden  Agony in the Garden   mk168 Woodcut 389x282mm
42442 Agony in the Garden  Agony in the Garden   mk168 1508 118x75mm
42385 Albrech Durer the Elder with Rosary  Albrech Durer the Elder with Rosary   mk168 47.5x39.5cm Oil on wood
67617 Albrecht Durer  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  Albrecht Durer and an unknown companion   mk168 cf.139.
42215 Albrecht Durer the Elder  Albrecht Durer the Elder   mk168 Oil on limewood 51x40cm London National Gallery
42499 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42500 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42501 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42502 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42503 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
42504 Albrecht Durer-s Four Apostles  Albrecht Durer-s Four Apostles   mk168
94699 Allegorie des Geizes  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  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  Altarpiece of the Rose Garlands   1506 Narodni Galerie, Prague
80478 Alte mit Geldbeutel  Alte mit Geldbeutel   Date 1507 Medium Deutsch: Lindenholz Dimensions Deutsch: 35 x 29 cm cjr
84745 Alte mit Geldbeutel  Alte mit Geldbeutel   1507 Medium Deutsch: Lindenholz Dimensions Deutsch: 35 x 29 cm cyf
52056 Amorous Peasants  Amorous Peasants   Drawing Pinacoteca Ambrosiana
42283 An architect  An architect   mk168 386x263mm
42274 An orinetal Ruler Enthroned with traces of the artist-s monogram  An orinetal Ruler Enthroned with traces of the artist-s monogram   mk168 Pen and ink on paper 306x197mm
70227 Anbetung der Konige Detail  Anbetung der Konige Detail   Medium Oil on panel Dimensions 098 X 111 cm
73161 Anbetung der Konige Detail  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  Anbetung der Konige, Detail   1504 Oil on panel 98 X 111 cm (38.58 X 43.70 in)
71883 Anbetung der Konige, Detail  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  Anne with the virgin and the infant Christ   mk168 1519 oIL 60X50CM
63590 Annunciation  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  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  Apollo and Diana   mk168 157x97mm
63581 Apollo and Diana  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  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  Apostel Jakobus   1516(1516) Oil on canvas 46 ?? 38 cm cjr
77928 Apostel Jakobus  Apostel Jakobus   1516(1516) Medium Oil on canvas Dimensions Deutsch: 46 ?? 38 cm cyf
74471 Apostel Philippus  Apostel Philippus   1516(1516) Leinwand 46 X 38 cm (18.11 X 14.96 in) cjr
75893 Apostel Philippus  Apostel Philippus   Date 1516(1516) Dimensions 46 ?? 38 cm (18.1 ?? 15 in) cyf
42347 Arion  Arion   mk168 142x234mm
57287 Artist self-portrait  Artist self-portrait   mk255 for in 1493. 0.56 x 0.44 meters canvas. Paris, the Louvre
42323 Bath Attendant  Bath Attendant   mk168 1493 Pen and ink on paper 272x147mm
42384 Bearded Man in a Red cap  Bearded Man in a Red cap   mk168 40x30cn 1520
63627 Bearing of the Cross  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  Betende Maria   1518 Medium Oil on panel Dimensions Deutsch: 53 x 43 cm cyf
63584 Betrayal of Christ  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  Beweinung Christi   c. 1498 Oil on panel 147 X 118 cm cjr
77324 Beweinung Christi  Beweinung Christi   Deutsch: um 1498 English: c. 1498 Medium Oil on panel cyf
83392 Bildnis einer jungen Venezianerin  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  Bubender Hieronymus   c. 1494-1497 Oiil on wood 23,1 x 17,4 cm cjr
83928 Bubender Hieronymus  Bubender Hieronymus   English: c. 1494-1497 cyf
42277 Burkard of Speyer  Burkard of Speyer   mk168 Oil on wood 32x27cm
42413 Cardinal Albrecht of Bran-Denburg  Cardinal Albrecht of Bran-Denburg   mk168 1519 146x96mm
42414 Cardinal Albrecht of Bran-Denburg  Cardinal Albrecht of Bran-Denburg   mk168 428x323mm Chalk on paper
42412 Cardinal Albrecht of Bran-Denburg in portrait  Cardinal Albrecht of Bran-Denburg in portrait   mk168 174x120mm
63608 Cardinal Albrecht of Brandenburg  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  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  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  Chris before pilate   mk168 1512 118x74mm
1043 Christ Among the Doctors  Christ Among the Doctors   1506 Foundation Thyssen Bornemisza, Madrid
42439 Christ and the Doctors  Christ and the Doctors   mk168 Woodcut 300x208mm
42262 Christ as Man of Sorrows  Christ as Man of Sorrows   mk168 oil on fir 30x19cm
1056 Christ as the Man of Sorrows  Christ as the Man of Sorrows   1493 Staatliche Kunsthalle, Karlsruhe
42450 Christ Bearing the Cross  Christ Bearing the Cross   mk168 1512 117x74mm
42303 Christ Before Caiaphas  Christ Before Caiaphas   mk168 283x178mm
63591 Christ before Caiaphas  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  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  Christ befroe Caiaphas   mk168 1512 117x74mm
42293 Christ Carrying the Cross  Christ Carrying the Cross   mk168 210x285mm Pen and ink on paper
42294 Christ Carrying the Cross  Christ Carrying the Cross   mk168 210x285mm
63605 Christ Crowned with Thorns  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  Christ in Limbo   mk168 392x280mm 1510 Woodcut
42259 Christ on the Cross  Christ on the Cross   mk168 220x133mm
42245 Christ on the Cross between the Virgin and St.John  Christ on the Cross between the Virgin and St.John   mk168 Pen and ink on paper 310x227mm
63574 Christ on the Mount of Olives  Christ on the Mount of Olives   1521 Pen and ink, 208 x 294 mm St?delsches Kunstinstitut, Frankfurt Christ is lying completely flat on the ground ("fell on his face, and prayed"); D?rer could have seen this posture depicted by Mantegna. The rocks in starlike layers and the veil of mist pressing down from above lend support to the effect of the motif. The Apostles are small and are sitting off to a side by themselves.Artist:D?RER, Albrecht Title: Christ on the Mount of Olives Painted in 1501-1550 , German - - graphics : religious
42221 Christ,Man of Sorrow,with Durer-s Features  Christ,Man of Sorrow,with Durer-s Features   mk168 1522 Drawing in Lead-point
86372 Christus als Schmerzensmann  Christus als Schmerzensmann   Date 1493/94 Medium Oil and tempera on wood Dimensions 30,1 x 18,8 cm cjr
63587 Coat-of-Arms with a Skull  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
52012 Combined Coat-of-Arms of the Tucher and Rieter Families  Combined Coat-of-Arms of the Tucher and Rieter Families   1499 Oil on panel, 28 x 24 cm
52055 Courtyard of the Former Castle in Innsbruck without Clouds  Courtyard of the Former Castle in Innsbruck without Clouds   1494 Watercolour on paper, 335 x 267 mm
42311 Dancing Peasant Couple  Dancing Peasant Couple   mk168 1514 118x75mm
63659 Death of Orpheus  Death of Orpheus   1494 Pen drawing, 289 x 225 mm Kunsthalle, Hamburg This drawing is probably derived from a painting by Andrea Mantegna, whose printed graphics D?rer copied. Mantegna in his turn was using Greco-Roman models. This landscape, the details of the drapery folds and the handling of the line in general are worked out in a quite independent fashion. The centre of the picture is the male nude in motion. According to the Metamorphoses by the classical author Ovid (43 B.C.-17/18 A.D.), Orpheus introduced homosexual love to Thrace and for that reason is beaten to death by two Thracian women during a bacchanal. The group of figures is placed before a central tree in which an open book with music is hanging. The classical singer's lyre is lying at his feet. In the tree a banderole with legends: "Orfeus der erst puseran" (Orpheus, the first pederast). The woman at the left and the boy were used by D?rer a few years later in the engraving known as "Jealousy" (more correctly "Chastity and Unchastity").Artist:D?RER, Albrecht Title: Death of Orpheus Painted in 1501-1550 , German - - graphics : mythological
63632 Deposition  Deposition   1512 Engraving, 117 x 74 mm Metropolitan Museum of Art, New York Sheet No. 13 of the Engraved Passion. In this case the engraved and woodcut version can be easily compared. Both were executed at about the same time. One is the most complicated, the other the simplest solution. In the engraving some of the dignity is sacrificed by the complicated overlappings, as in the case of Christ's body. The woodcut version of the Small Passion was difficult to surpass in the engraving. D?rer decided to use the tomb as seen from the front, making for the interesting overlappings. The gentle dignity of the woodcut version was, however, lost. It is not quite clear which one of the praying women is the Virgin Mary.Artist:D?RER, Albrecht Title: Deposition (No. 13) Painted in 1501-1550 , German - - graphics : religious
42224 Desiderius Erasmus of Rotterdam  Desiderius Erasmus of Rotterdam   mk168 1520 Charcoal on paper 373x271mm Pairs
42239 Design for the Great triuphal Chariot of Emperor Maximilian i  Design for the Great triuphal Chariot of Emperor Maximilian i   mk168 Pen and ink on paper iwth waterclor 1518 460x2530mm
63680 Design of a Goblet with a Variant of the Base  Design of a Goblet with a Variant of the Base   1515 Pen, 256 x 167 mm British Museum, LondonArtist:D?RER, Albrecht Title: Design of a Goblet with a Variant of the Base Painted in 1501-1550 , German - - graphics : other
88856 Die Ferlegerin mit geflochtenem Haar  Die Ferlegerin mit geflochtenem Haar   1497(1497) Medium oil on canvas Dimensions 56.5 x 42.5 cm (22.2 x 16.7 in) cyf
82399 Die Ferlegerin mit offenem Haar  Die Ferlegerin mit offenem Haar   1497(1497) Medium Oil on canvas Dimensions 56 x 43 cm (22 x 16.9 in) cyf
96054 Die Furlegerin mit offenem Haar  Die Furlegerin mit offenem Haar   1497(1497) Medium oil on canvas Dimensions 56 x 43 cm (22 x 16.9 in) cjr
83380 Die Madonna mit der Birnenschnitte  Die Madonna mit der Birnenschnitte   1512(1512) Medium Deutsch: Holz Dimensions Deutsch: 49 x 37 cm cyf
89306 Die sieben Schmerzen Maria, Mitteltafel  Die sieben Schmerzen Maria, Mitteltafel   c. 1494 - 1497 Medium oil on panel Dimensions Deutsch: 63 x 46 cm cjr
90282 Die sieben Schmerzen Maria, Mitteltafel  Die sieben Schmerzen Maria, Mitteltafel   c. 1494-1497 Medium oil on panel Dimensions 109,2 x 43,3 cm cjr
34372 Die Vier Apostel  Die Vier Apostel   mk92 1526 206x76cm Munchen,Bayerische Staatsgemaldesammlung
76310 Dreikonigsaltar  Dreikonigsaltar   Deutsch: um 1504 English: c. 1504 Medium Oil on panel Dimensions Deutsch: 96 ?? 54 cm cyf
42212 Durer-s Mother Barbara,Nee Holper  Durer-s Mother Barbara,Nee Holper   mk168 on top in the center,the year 1514
42217 Durer-s wife Agnes  Durer-s wife Agnes   mk168 156x98mm
42448 Ecce Homo  Ecce Homo   mk168 1512 117x75mm
78620 Ecce Homo  Ecce Homo   Oil on panel Dimensions Deutsch: 30 x 19 cm cyf
79673 Ecce Homo  Ecce Homo   Oil on panel Dimensions Deutsch: 30 x 19 cm cyf
42389 Elector Frederick the Wise  Elector Frederick the Wise   mk168 76x57mm
42416 Elector Frederick The Wise  Elector Frederick The Wise   mk168 192x127mm 1524
42390 Elsbeth Tucher  Elsbeth Tucher   mk168 29x23cm Oil on linden wood
42236 Emperor charlemagne  Emperor charlemagne   mk168 215x115.3cm oil on lindenwood
42237 Emperor charlemagne  Emperor charlemagne   mk168 Oil on canvas 85x65cm
63740 Emperor Charlemagne  Emperor Charlemagne   1512 Oil on lindenwood, 188 x 87,6 cm Germanisches Nationalmuseum, Nuremberg The idealized portrait of Emperor Charlemagne was intended for the "Heiltumskammer" in the Schoppersche House by the marketplace, together with the portrait of Emperor Sigismund of Poland (also in Nuremberg). This was where the coronation insignia and relics were kept, which were put on display once a year at the so-called "Heiltumsweisungen." The physiognomy of Charlemagne, shown in the magnificent original coronation robes, is reminiscent of depictions of God the Father. The crown, sword and imperial orb were prepared by D?rer in sketches. The German imperial coat of arms and French coat of arms with the fleur-de-lis are emblazoned at the top.Artist:D?RER, Albrecht Title: Emperor Charlemagne Painted in 1501-1550 , German - - painting : portrait
52019 Emperor Charlemagne and Emperor Sigismund  Emperor Charlemagne and Emperor Sigismund   c. 1512 Oil and tempera on panel, 215 x 115 cm
39730 Emperor Maximilian  Emperor Maximilian   mk150 1519 74x61.5cm
52028 Emperor Maximilian  Emperor Maximilian   1519 Tempera on canvas, 83 x 65 cm
42240 Emperor Maximilian i  Emperor Maximilian i   mk168 381x319mm
63748 Emperor Maximilian I  Emperor Maximilian I   1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait
84395 Emperor Maximilian I  Emperor Maximilian I   Date 1519(1519) Medium Oil on linden Dimensions Height: 74 cm (29.1 in). Width: 62 cm (24.4 in). cjr
88185 Emperor Maximilian I  Emperor Maximilian I   1519(1519) Medium Oil on linden cyf
52020 Emperor Sigismund  Emperor Sigismund   c. 1512 Oil on lindenwood, 187,7 x 87,5 cm
42211 Endres Durer  Endres Durer   mk168 1484-1555 entered the Nuremberg gold-smiths-guild as a master in 1514
42231 Eobanus Hesse with the monogram of the artist  Eobanus Hesse with the monogram of the artist   mk168 169x117mm London
42341 Equestrian Kninght in Armor  Equestrian Kninght in Armor   mk168 410x324mm
42241 Erasmus of Rotterdam  Erasmus of Rotterdam   mk168 249x193mm
28092 Eva  Eva   mk61 1507 Oil on panel 209x80cm
74567 Eva  Eva   209 X 83 cm 1507(1507) Oil on panel cjr
76117 Eva  Eva   1507(1507) Medium Oil on panel cyf
42372 Exit from a Quarry  Exit from a Quarry   mk168 Pen and ink on paper 325x218mm
63726 Feast of the Rose Garlands  Feast of the Rose Garlands   1506 Oil on poplar panel National Gallery, Prague The Feast of the Rose Garlands is undoubtedly the most important work that D?rer created during his sojourn in Venice and was the work that ushered in the Renaissance. D?rer was obviously aware of this, as his letters and the painting itself demonstrate. The painting shows this in the distinction he gives his self-portrait: in the top right, in front of the typically German landscape passage at the foot of the mountains, with his face framed by long blond hair, donning luxurious clothes - even a precious fur cloak, in spite of the warm season - so as to be noticed among the other characters. He alone has ostentatiously turned his gaze to the spectator. Even the writing on the paper he holds is unusual for Italy. It indicates not only the time of production (five months), but next to his own name is the indication germanus. This detail was to distinguish himself from his Venetian colleagues, who evidently held him in very high regard, since even the doge and the patriarch came to his workshop to admire his work. The artist's companion is likely to be Leonhard Vilt, founder of the Brotherhood of the Rosary in Venice. The man in the far right, recognizable by the square he holds, is the architect Hieronymus of Augsburg, engineer of the new Fondaco dei Tedeschi (1505-8) after it was completely destroyed in a fire. Inscription on the sheet in the artist's hand, monogrammed and autograph writing: EXEGIT QUINQUE MESTRI SPATIO ALBERTUS DURER GERMANUS MDVI. (`Albrecht D?rer, a German, produced it within the span of five months. 1506.')Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious
63727 Feast of the Rose Garlands  Feast of the Rose Garlands   1506 Oil on poplar panel National Gallery, Prague The detail shows the artist's self-portrait in front of ae typically German landscape.Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious
88607 Feast of the Rose Garlands  Feast of the Rose Garlands   1506(1506) Medium Oil on poplar Dimensions Height: 162 cm (63.8 in). Width: 194.5 cm (76.6 in). cjr
42393 Felicitas Tucher,nee Rieter  Felicitas Tucher,nee Rieter   mk168 Oil on wood 28x24cm
63670 Female Nude from Behind  Female Nude from Behind   1495 Brush drawing on paper, 32 x 21 cm Mus?e du Louvre, Paris This female nude seen from behind records D?rer's interest in human proportions during his first Italian journey. The attributes, staff and cloth, suggest that this freely drawn nude study was created from a model. The firmly sketched shape of her body forms a charming contrast with the glazed, freely swinging cloth. The head and cloth are executed with gentle brushstrokes and clearly show a spatially plastic relationship between the figure and pictorial space.Artist:D?RER, Albrecht Title: Female Nude from Behind Painted in 1501-1550 , German - - graphics : study
63566 Five Lansquenets and an Oriental on Horseback  Five Lansquenets and an Oriental on Horseback   1495 Engraving, 132 x 147 mm Metropolitan Museum of Art, New York In early commentaries the scene was described as a band of robbers attacking D?rer, or as William Tell. More recently it has been suggested that it had originally been intended as a scene beneath the Cross. Italian influence is manifest, but the grouping, particularly the position of the Oriental horseman, is a little awkward. Note the scotch plaid pattern of the Turk's saddlecloth.Artist:D?RER, Albrecht Title: Five Lansquenets and an Oriental on Horseback Painted in 1501-1550 , German - - graphics : other
63595 Five Male Nudes  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
21358 Four Apostles (mk08)  Four Apostles (mk08)   1526 Oil on wood Munich,Bayerische Staats-gemaldesmmlungen,Alte Pinakothek
42417 Frederick II  Frederick II   mk168 164x117mm Silver-Point on prepared paper
42218 Girl in Cologne Attire and Agnes Durer  Girl in Cologne Attire and Agnes Durer   mk168 129x190mm Vienna,Albertina
63667 Green Passion: Christ before Caiaphas  Green Passion: Christ before Caiaphas   1504 Pen drawing on green primed paper, 283 x 178 mm Graphische Sammlung Albertina, Vienna The Green Passion, so named after the green primed paper, consists of twelve sheets, the purpose of which is not known. It has been assumed that they were used as preliminary sketches for stained glass windows. Like the other pictures, the sheet of Christ before Caiaphas distinguishes itself through its fine white highlights which achieve a magical plasticity and dramatic lighting - as was created by the "clair-obscur" technique - in their harmony with the green base colour of the scene. Christ and Pilate, the two antagonists in the foreground, are positioned opposite each other and emphasized both by the lighting and the architecture.Artist:D?RER, Albrecht Title: Green Passion: Christ before Caiaphas Painted in 1501-1550 , German - - graphics : religious
63663 Hand Study with Bible - Drawing  Hand Study with Bible - Drawing   280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study
42392 Hans Tucher  Hans Tucher   mk168 28x24cm Oil on wood
55986 hare  hare   1502,watercolor on paper,9.875x9.125 in,25x23 cm,graphische sammlung albertina,vienna,austria
63634 Harrowing of Hell  Harrowing of Hell   1512 Engraving, 117 x 73 mm Metropolitan Museum of Art, New York Sheet No. 14 of the Engraved Passion. Adam and Eve are on the left, Moses is behind them, Cerberus above. The contrast between engraved and woodcut versions is similar to that described for the Deposition. The man whose arm Christ is touching is probably St John the Baptist. This print is a new and felicitous rendering, bearing witness to D?rer's inventiveness and imagination. Eve looks charming next to the aged Adam.Artist:D?RER, Albrecht Title: Harrowing of Hell; or, Christ in Limbo (No. 14) Painted in 1501-1550 , German - - graphics : religious
42491 Head of a boy facing toward the right  Head of a boy facing toward the right   mk168 226x193mm Watercolor on paper
42492 Head of a boy facing toward the left  Head of a boy facing toward the left   mk168 223x181mm Paris
63685 Head of a Negro  Head of a Negro   1508 Charcoal, 320 x 218 mm Graphische Sammlung Albertina, Vienna This study was done in Nuremberg. A Negro always figured in scenes of the Adoration of the Wise Men. This drawing is parallel in time with the studies for the Heller Altar; in comparison with them it has a special freshness.Artist:D?RER, Albrecht Title: Head of a Negro Painted in 1501-1550 , German - - graphics : study
42288 Head of a Weeping cherub  Head of a Weeping cherub   mk168 211x167,mm
42280 Head of an angel  Head of an angel   mk168 270x208mm
63640 Head of an Angel  Head of an Angel   1506 Brush drawing on blue Venetian paper, 270 x 208 mm Graphische Sammlung Albertina, Vienna There are a total of 22 preliminary studies, every one of which can be considered an autonomous work of art, in which D?rer prepared the Feast of the Rose Garlands (National Gallery, Prague). The head of the lute-playing angel by the Madonna's feet is a masterpiece of drawing. The technique of the brush drawing with white highlights on blue paper was one D?rer became acquainted with in Venice. The interplay of white and dark parallel and cross-hatchings which gently follow the curves of the face create the plastic effect of the light and dark shades.Artist:D?RER, Albrecht Title: Head of an Angel Painted in 1501-1550 , German - - graphics : study
63676 Head of an Apostle Looking Downward  Head of an Apostle Looking Downward   1508 Brush drawing with white highlights on a dark ground, 316 x 229 mm Graphische Sammlung Albertina, Vienna Study for the Heller Altar. This was a type that long interested D?rer and is still discernible in the head of St Paul in the Munich paintings of Apostles. All the forms contribute with unusual power to the unified expression.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Downward Painted in 1501-1550 , German - - graphics : study
63681 Head of an Apostle Looking Upward  Head of an Apostle Looking Upward   1508 Brush drawing with white highlights on a dark ground, 288 x 207 mm Staatliche Museen, Berlin Study for the Heller Altar. The modern mistrust of any calligraphy in drawing should not be allowed to blind the viewer to the new psychological greatness that such figures introduce into German art.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Upward Painted in 1501-1550 , German - - graphics : study
63598 Head of St Mark  Head of St Mark   1526 Chalk with white highlights, 373 x 265 mm Staatliche Museen, Berlin This is a study for the Apostle in the great Munich painting. In its expression of spiritual excitement the head in this drawing is decidedly superior to the one in the painting. Tossing briskly, the locks of hair continue the theme of movement. At the same time, the natural appearance of the hair seems to have been oddly neglected in the rendering ("pretzel locks"). Drawings of this type, in very large format and only superficially finished, do not occur in the earlier period.Artist:D?RER, Albrecht Title: Head of St Mark Painted in 1501-1550 , German - - graphics : study
42505 Head of St.Peter  Head of St.Peter   mk168 1526 354x288mm
42474 Head of the Apostle james  Head of the Apostle james   mk168 46x38cm Oil on canvas
42473 Head of the Apostle Philip  Head of the Apostle Philip   mk168 Oil on canvas 46x38cm
63653 Head of the Twelve Year Old Christ  Head of the Twelve Year Old Christ   1506 Brush drawing on blue Venetian paper, 275 x 211 mm Graphische Sammlung Albertina, Vienna The head study of the twelve year-old Jesus was originally drawn on the same sheet, later separated, as the preliminary drawing of the lute-playing angel in the Feast of the Rose Garlands. This is confirmed by the fact that the two pictures were created at the same time. In contrast to the preliminary drawing for the Feast of the Rose Garlands, D?rer kept more rigidly to his preliminary study in the painting of Christ among the Doctors, diverging only in details such as the reproduction of the hair.Artist:D?RER, Albrecht Title: Head of the Twelve Year Old Christ Painted in 1501-1550 , German - - graphics : study
78807 Heiliger Onophrius  Heiliger Onophrius   ca. 1504(1504) Oil on panel 20 x 58 cm (7.9 x 22.8 in) cjr
81888 Heiliger Onophrius  Heiliger Onophrius   . 1504(1504) Medium Oil on panel Dimensions 20 x 58 cm (7.9 x 22.8 in) cyf
52029 Heller Altar  Heller Altar   1508-09 Tempera and oil on wood, 189 x 138 cm
63752 Heller Altar  Heller Altar   1508-09 Tempera and oil on wood, 189 x 138 cm (central element) Historisches Museum, Frankfurt In the center-ground of the landscape, D?rer stands as usual with the explicative tablet and his gaze fixed straight ahead. Inscription on the table before the self-portrait: ALBERTVS DVRER ALEMANVS FACIEBAT POST VIRGINIS PARTVM 1509. The background presses into the far distance, toward a lake enclosed by hills, peppered with buildings.Artist:D?RER, Albrecht Title: Heller Altar (detail) Painted in 1501-1550 , German - - painting : religious
42351 Hercules at the Crossroads  Hercules at the Crossroads   mk168 323x223mm
42318 Hercules Killing the Molionides  Hercules Killing the Molionides   mk168 395x285mm
42352 Hercules Kills the Stymphalic Birds  Hercules Kills the Stymphalic Birds   mk168 85x110cm
42418 Hieronymus Holzschuher  Hieronymus Holzschuher   mk168 48x36cm Oil on linden wood
25870 Hieronymus Holzschuher (mk45)  Hieronymus Holzschuher (mk45)   1526 Oil on panel. 48x26cm Berlin,Staatliche Museen zu Beelin-Prubischer Kulturbesitz,Gemaldegalerie
79166 Hiob von seiner Frau verhohnt  Hiob von seiner Frau verhohnt   ca. 1500-1503 color on linden 96 x 51 cm (37.8 x 20.1 in) cjr
63585 Iris  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
82271 Jabach Altar linker Flugel auben  Jabach Altar linker Flugel auben   . 1500-1503 Medium color on linden Dimensions 96 x 51 cm (37.8 x 20.1 in) cyf
83200 Jabacher Altar  Jabacher Altar   c. 1500-1503 Medium Deutsch: Lindenholz Dimensions 97 x 55 cm (38.2 x 21.7 in) cyf
42402 Jako Fugger The Rich  Jako Fugger The Rich   mk168 Oil on canvas 69.4x53cm 1500
52027 Jakob Fugger  Jakob Fugger   the Wealthy 1518-20 Tempera on canvas, 69,4 x 53 cm
42419 Jakob Muffel  Jakob Muffel   mk168 48x36cm Oil on wood transferred to canves
42260 Jean Charlier de gerson as a pligrim  Jean Charlier de gerson as a pligrim   mk168 223x149mm
70845 Jesusknabe mit Weltkugel  Jesusknabe mit Weltkugel   Medium Deutsch: keine Angaben Dimensions Deutsch: 118 x 93 cm
42435 Joachim and the Angel  Joachim and the Angel   mk168 296x210mm Woodcut
52015 Job and His Wife  Job and His Wife   c. 1504 Oil on panel, 94 x 51 cm
42465 Job Castigated by his wife  Job Castigated by his wife   mk168 94x51cm
42342 Kinght,Death and Devil  Kinght,Death and Devil   mk168 244x189mm
78792 Knabenkopf nach links geneigt  Knabenkopf nach links geneigt   c. 1503 Oil on canvas 23,1 x 17,9 cm cjr
83397 Knabenkopf nach rechts geneigt  Knabenkopf nach rechts geneigt   Oil on canvas Dimensions Deutsch: 25,5 x 19,2 cm cyf
45883 Knight death and devil  Knight death and devil   mk178 1513 copper stings 24.6x18.9cm
63651 Knight on Horseback  Knight on Horseback   1512 Drawing, 239 x 173 mm Biblioteca Pinacoteca Ambrosiana, Milan A preliminary study, drawn on both sides of the paper, for the masterly engraving of the Knight, Death and the Devil concentrates on the group comprising the horse and rider. From the proportional scheme drawn onto the sheet, it can be seen that D?rer precisely prepared the copper engraving in the same manner as his studies on the ideal proportions of the horse. While he did not change the depiction of the rider in the copper engravings, he altered details in the horse several times, for example correcting its right hind hoof both on the preliminary drawing and on the plate.Artist:D?RER, Albrecht Title: Knight on Horseback Painted in 1501-1550 , German - - graphics : study
63599 Knight, Death and the Devil  Knight, Death and the Devil   1513 Engraving, 245 x 188 mm Staatliche Kunsthalle, Karlsruhe During 1513 and 1514 D?rer created the greatest of his copperplate engravings: the Knight, St Jerome in His Study, and Melencolia I - all of approximately the same size. The extensive, complex, and often contradictory literature concerning these three engravings deals largely with their enigmatic, allusive, iconographic details. Although repeatedly contested, it probably must be accepted that the engravings were intended to be interpreted together. There is general agreement, however, that D?rer, in these three master engravings, wished to raise his artistic intensity to the highest level, which he succeeded in doing. Finished form and richness of conception and mood merge into a whole of classical perfection. Knight, Death and the Devil, also known as The Rider, represents an allegory on Christian salvation. Unflustered either by Death who is standing in front of him with his hour-glass, or by the Devil behind him, an armoured knight is riding along a narrow defile, accompanied by his loyal hound. This represents the steady route of the faithful, through all of life's injustice, to God who is symbolized by the castle in the background. The dog symbolizes faith, and the lizard religious zeal. The horse and rider, like other preliminary studies made by D?rer, are derived from the canon of proportions drawn up by Leonardo da Vinci.Artist:D?RER, Albrecht Title: Knight, Death and the Devil Painted in 1501-1550 , German - - graphics : mythological
82725 Kopf eines bartigen Kindes  Kopf eines bartigen Kindes   1527 Medium Oil on canvas Dimensions Deutsch: 52,5 x 27,8 cm cyf
42386 Lamentation for Christ  Lamentation for Christ   mk168 151x121cm Oil on coniferous wood
42387 Lamentation for christ  Lamentation for christ   mk168 150x120 Oil on spruce
58704 Lamentation for Christ  Lamentation for Christ   Lamentation for Christ, oil, 1500-3
63741 Lamentation for Christ  Lamentation for Christ   1500-03 Oil on panel Alte Pinakothek, Munich This scene is framed above by a beautiful landscape in which Jerusalem can be seen off the lakeshore, atop a hill, in the foreground. Behind the city is a mountain peak and a mountain range that disappear into the background. The city, mountains, and lake are flooded with light. A thick blanket of heavy black clouds that thins out just above the lake in the back looms over the mountains. While the presence of the black clouds is justified by the narration of the crucifixion ("and darkness came over the whole land...while the sun's light failed," Luke 23:45), and the light is explained by the words of the apocryphal gospel of Saint Peter when he describes the position ("and the sun began to shine again ", 6:21), the Jerusalem that appears in the painting - a city near water, with house, towers, and fortification walls, lying against rocky mountains - is decidedly an invented, Nordic city, which does not at all reflect the actual appearance, well known at that time, of this blessed city.Artist:D?RER, Albrecht Title: Lamentation for Christ (detail) Painted in 1501-1550 , German - - painting : religious
63742 Lamentation for Christ  Lamentation for Christ   1500-03 Oil on panel Alte Pinakothek, MunichArtist:D?RER, Albrecht Title: Lamentation for Christ (detail) Painted in 1501-1550 , German - - painting : religious
63743 Lamentation for Christ  Lamentation for Christ   1500-03 Oil on panel Alte Pinakothek, MunichArtist:D?RER, Albrecht Title: Lamentation for Christ (detail) Painted in 1501-1550 , German - - painting : religious
63744 Lamentation for Christ  Lamentation for Christ   1500-03 Oil on panel Alte Pinakothek, MunichArtist:D?RER, Albrecht Title: Lamentation for Christ (detail) Painted in 1501-1550 , German - - painting : religious
63630 Lamentation over Christ  Lamentation over Christ   1507 Engraving, 115 x 71 mm Metropolitan Museum of Art, New York Sheet No. 12 of the Engraved Passion. Also called Descent from the Cross, this is the first of D?rer's engravings after his return from Italy. It is not yet appreciably different in style from those of 1504/05. The Lamentation over Christ is the earliest of the plates of the Engraved Passion and considerably weaker than the other subjects of that series. It suffers from D?rer's preoccupation during this period with the arrangement of limbs. The position of Christ's legs is similar to that of the Infant Christ's in the painting The Brotherhood of the Rosary. D?rer could not have thought of an entire series of Passion subjects at that time, otherwise he would have begun with the Agony in the Garden. In contrast to the other subjects which were to follow, the background of this engraving is white.Artist:D?RER, Albrecht Title: Lamentation over Christ (No. 12) Painted in 1501-1550 , German - - graphics : religious
1033 Lamentations Over the Dead Christ  Lamentations Over the Dead Christ   1500-03 Pinakothek, Munich
63672 Laughing Peasant Woman  Laughing Peasant Woman   1505 Pen, 390 x 270 mm British Museum, London The legend reads: "una Villana vindisch" (a peasant woman in the Veneto). This shows the delicate short strokes of the time of The Life of the Virgin, still without more rigorous economy: a flow of little dashes, crossed here and there by patches of straight lines that extend beyond the outlines of the forms; a chiaroscuro effect. The transitory moment of the drawing back of the lips and the blinking of the eyes is captured and retained.Artist:D?RER, Albrecht Title: Laughing Peasant Woman Painted in 1501-1550 , German - - graphics : portrait
42243 Levinus Memminger Michael Wolgemut  Levinus Memminger Michael Wolgemut   mk168 335x230mm
42406 Likeness of a young girl  Likeness of a young girl   mk168 423x294cm
42360 Linden Tree on a Bastion  Linden Tree on a Bastion   mk168 Watercolor and body color on vellum 343x267mm
43932 Lobster  Lobster   263 x 355 mm
62447 Lobster 1495 Watercolour and gouache  Lobster 1495 Watercolour and gouache   263 x 355 mm Museum Boijmans Van Beuningen, Rotterdam The artist executed this watercolour during his first stay in Venice. The model was a living animal. Author: D?RER, Albrecht Title: Lobster , 1501-1550 , German Form: graphics , other
63733 Lot Fleeing with his Daughters from Sodom  Lot Fleeing with his Daughters from Sodom   1498 Oil and tempera on panel, 52 x 41 cm National Gallery of Art, Washington This delightfully spontaneous panel depicts Lot and his two daughters fleeing from the destruction of Sodom. In the story from Genesis, two angels warn Lot that he should escape before God destroys the city for its sins. Lot is told that his family must not look back, otherwise they will be turned into pillars of salt. In D?rer's panel, Lot leads the way, dressed in a warm fur-lined coat and a magnificent turban. He carries a basket of eggs and has a flask of wine slung over his shoulder on his stick. His two daughters follow several paces behind, one bearing a bundle on her head and the other with an elegant casket and a distaff and yarn. Far behind them, near the towering rocks, is Lot's wife, transformed into a brown pillar of salt. In the distance the town of Sodom explodes with brimstone and fire, huge columns of smoke belching up into the sky. Gomorrah, in the far distance, suffers a similar fate. This depiction of Lot's flight is not the main picture, but the reverse of a panel of the Virgin and Child. The two sides are quite different, not only in subject-matter but also in style. The Lot panel is painted in a loose, spontaneous manner, whereas the Virgin and Child is much more finely worked. However, D?rer must have intended them to be seen together. The panel was painted for the Nuremberg merchant family of Haller, whose arms appear in the bottom left corner of the panel of the Virgin. Virgin and Child at a Window was long assumed to be the work of the Venetian artist Giovanni Bellini, because of its composition and colouring. In 1934 it was identified as a D?rer, painted about three years after his return from Venice. It was bought by Baron Heinrich von Thyssen-Bornemisza, who owned it until 1950.Artist:D?RER, Albrecht Title: Lot Fleeing with his Daughters from Sodom Painted in 1501-1550 , German - - painting : religious
42483 Lot flees with his family from sodom  Lot flees with his family from sodom   mk168 52x41cm Oil on linden wood
67661 Loths Flucht  Loths Flucht   c. 1496 Oil on panel 50,2 X 39,7 cm
70119 Loths Flucht  Loths Flucht   Date Deutsch: um 1496 English: c. 1496 Medium Oil on panel Dimensions Deutsch: 50,2 X 39,7 cm
63622 Lucas van Leyden  Lucas van Leyden   1521 Chalk and charcoal, 368 x 255 mm British Museum, London The legend (below left), "effigies Lucae Leidensis," is not by D?rer. The "L [Lucas] 1525" above it shows that the drawing was once given out to be a work of the Dutch artist. If that was incorrect, it still cannot be denied that in its calm physiognomy the drawing is close to the Dutch manner. The hair falling in strands is not stylised in D?rer's fashion. The whole piece is in the severe manner of the late period, with a strongly emphasized contrast between the fundamental horizontal and vertical directions. The background is dark and uniform.Artist:D?RER, Albrecht Title: "Lucas van Leyden" Painted in 1501-1550 , German - - graphics : portrait
71625 Madonna  Madonna   Date 1505
53758 Madonna and child  Madonna and child   mk234 about 1505 40x50cm
82519 Madonna and Child  Madonna and Child   Date ca. 1498(1498) Medium Oil on wood Dimensions Height: 50 cm (19.7 in). Width: 39 cm (15.4 in). cjr
85964 Madonna and Child  Madonna and Child   1498(1498) Medium Oil on wood cyf
96923 Madonna and Child  Madonna and Child   circa 1498(1498) Medium oil on panel Dimensions 50 X 40 cm cyf
63604 Madonna and Child on a Stone Bench  Madonna and Child on a Stone Bench   1520 Pen drawing, 135 x 87 mm Pushkin Museum, Moscow This pen drawing is a preliminary study of the group of figures in an engraving, and while it shows the Madonna with her hair down, the babe in arms and folds of her garments are already very similarly depicted. The background landscape shown in the copper engraving is still omitted here.Artist:D?RER, Albrecht Title: Madonna and Child on a Stone Bench Painted in 1501-1550 , German - - graphics : study
52032 Madonna and Child with the Pear  Madonna and Child with the Pear   1526 Oil on wood, 43 x 32 cm
1037 Madonna and Child _1  Madonna and Child _1   1512 Art History Museum, Vienna
1046 Madonna and Child_y  Madonna and Child_y   1504-07 The National Gallery of Art, Washington DC
63603 Madonna by the Wall  Madonna by the Wall   1514 Engraving, 149 x 101 mm Metropolitan Museum of Art, New York Critics call this the most perfect and rare of all of D?rer's engravings, assigning to it a special place among all of D?rer's plates. It is transitional from the technique of deep black lines to a more even-tempered, silvery mat texture. Its mood is almost tragic, akin to that of Melencolia I, perhaps because of the death of D?rer's mother, which occurred on May 14, 1514. Whereas the Madonna with the Monkey is pure black and white, the Madonna by the Wall shows a unique variety of texture resulting in a colouristic effect. The Madonna by the Wall represents a perfect coincidence of apparent opposites. Regal, virginal, yet humble and motherly. Its utmost precision of design is combined with incomparable softness of texture. The Infant Christ is here holding an apple (compare Madonna by the Tree). In the background appears the castle of Nuremberg, which D?rer could see from the windows of his house.Artist:D?RER, Albrecht Title: Madonna by the Wall Painted in 1501-1550 , German - - graphics : religious
63614 Madonna Crowned by an Angel  Madonna Crowned by an Angel   1520 Engraving, 139 x 100 mm Metropolitan Museum of Art, New York According to D?rer's diary he gave away this Virgin as a present on four occasions. It is not as decidedly in the new style, but nevertheless distinguished by the new accent on frontality, exemplified by the youthful, idealized head. A peculiar impression is created by the white face and the concentration of the light on the skirt. It seems almost as if the scene were illuminated by lightning - the wind-blown hair, the creeping clouds, the upswept drapery of the angel - and in these surroundings sits the Virgin, smiling even though empty of expression, quite serene and aristocratic, idealized in the style of ancient, mild beauty. It can be noted its abstract rigidity, exemplified by the stiffly erect posture and the angular drapery, in all of which it surpasses the Madonna Crowned by Two Angels.Artist:D?RER, Albrecht Title: Madonna Crowned by an Angel Painted in 1501-1550 , German - - graphics : religious
63607 Madonna Crowned by Two Angels  Madonna Crowned by Two Angels   1518 Engraving, 148 x 100 mm Metropolitan Museum of Art, New York This is one of only two engravings of the period between 1514 and 1519. The Virgin is crowned with a wreath of roses and is holding an apple. In spite of its admirable style, it lacks warmth compared to earlier versions. The background is no longer picturesque but rather dry in its reality. D?rer made use of a much older preparatory study, originally sketched for the Heller Altarpiece, for the drapery of this engraving.Artist:D?RER, Albrecht Title: Madonna Crowned by Two Angels Painted in 1501-1550 , German - - graphics : religious
63613 Madonna Nursing  Madonna Nursing   115 x 73 mm Metropolitan Museum of Art, New York Michelangelesque monumentality and gloom here replace the Raphaelesque equilibrium of loveliness and solemnity of the Madonna Crowned by Two Angels. The group detaches itself from the solid background like sculpture projecting from a wall. The figure of the Virgin is composed of two block-like units, the lower one resembling an enormous cube. The emphasis is here shifted from linear values and dynamic movement to schematised volume.Artist:D?RER, Albrecht Title: Madonna Nursing Painted in 1501-1550 , German - - graphics : religious
29925 Madonna of the Pear  Madonna of the Pear   mk67 Oil on panel 16 15/16x12 3/16in Uffizi,Gallery
52018 Madonna of the Pear  Madonna of the Pear   1512 Oil on wood, 49 x 37 cm
75656 Madonna of the Pear  Madonna of the Pear   1512 Oil on panel 49 ?? 37 cm cjr
63582 Madonna on a Grassy Bench  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
42261 Madonna with musical Angels  Madonna with musical Angels   mk168 Pen and ink on paper with touches of watercolor 216x151mm
39700 Madonna with the pear  Madonna with the pear   mk150 1512 49x37cm
88810 Madonna with the Siskin  Madonna with the Siskin   1506(1506) Medium Oil on poplar cyf
63615 Madonna with the Swaddled Infant 1520 Engraving  Madonna with the Swaddled Infant 1520 Engraving   1520 Engraving, 144 x 97 mm Metropolitan Museum of Art, New York This late depiction of the Madonna and Child is almost genre-like. Only the halo indicates the holy nature of the group of figures. A human attitude is expressed in the loving way the mother is turning to her child, and this was intended to give the observer an emotional understanding of the Christian doctrine of salvation by encouraging "compassio," sympathy with the sufferings of Christ. D?rer recorded in his diary of the trip to the Low Countries that he gave away this print together with the Madonna Crowned by an Angel on four occasions (August 20, September 3, and late September 1520). Opinions of commentators vary greatly concerning this engraving. It could be noted that particularly great care was taken in the rendering of the hands of the Virgin and the head of Christ. The engraving is based or related to preliminary drawings.Artist:D?RER, Albrecht Title: Madonna with the Swaddled Infant Painted in 1501-1550 , German - - graphics : religious
63643 Male and Female Nudes  Male and Female Nudes   1516 Pen, 258 x 225 mm St?delsches Kunstinstitut, Frankfurt (The significance of the action has not yet been convincingly explained.) This is a drawing of great lightness with open, quite transparent patches of strokes. The line that characterizes the form is completely absorbed in ornamental beauty. In the background, behind the lower third of the height of the figures, there is an area of parallel horizontal lines ?a feature that recurs elsewhere.Artist:D?RER, Albrecht Title: Male and Female Nudes Painted in 1501-1550 , German - - graphics : study
53760 Male father  Male father   mk234 1497 50x40cm
63669 Male Nude  Male Nude   1508 Brush drawing with white highlights on dark paper, 198 x 216 mm Kunsthalle, Bremen Study for the Christ in the Heller Altar.Artist:D?RER, Albrecht Title: Male Nude, Half-length Painted in 1501-1550 , German - - graphics : study
63646 Male Nude with a Glass and Snake  Male Nude with a Glass and Snake   so-called Asclepius c. 1500 Pen drawing, green ink, 325 x 205 mm Staatliche Museen, Berlin This pen drawing of the so-called Asclepius, the classical god of medicine, is one of D?rer's earliest studies of proportion. The design sketch proves that the figure was originally laid out as a study of proportion. The muscular detail of the body is similar to that of Adam in the copper engraving dating from 1504.Artist:D?RER, Albrecht Title: Male Nude with a Glass and Snake, so-called Asclepius Painted in 1501-1550 , German - - graphics : study
42289 Man  Man   mk168 age ninety-three 415x252mm
63575 Man of Sorrows by the Column  Man of Sorrows by the Column   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
82800 Maria mit dem hockenden Kind  Maria mit dem hockenden Kind   1516 Medium Oil on panel Dimensions Deutsch: 27,9 x 20,5 cm cyf
78906 Maria mit dem Kind  Maria mit dem Kind   English: c. 1500-1503 Medium Oil on panel Dimensions Deutsch: 24 x 18 cm cyf
76640 Maria mit Kind  Maria mit Kind   1526(1526) Oil on panel 43 ?? 32 cm cjr
77463 Maria mit Kind  Maria mit Kind   Date 1512 Medium Oil on panel Dimensions 49 ?? 37 cm cyf
78528 Maria mit Kind  Maria mit Kind   1526(1526) Medium Oil on panel Dimensions Deutsch: 43 x 32 cm cyf
88634 Maria mit Kind  Maria mit Kind   c. 1496 Medium Oil on canvas Dimensions Deutsch: 95 x 105,5 cm cjr
82815 Maria mit Kind vor einem Torbogen  Maria mit Kind vor einem Torbogen   English: c. 1494-1497 Medium Oil on panel Dimensions 47,8 x 36 cm cyf
78762 Maria mit Kind vor einer Landschaft  Maria mit Kind vor einer Landschaft   c. 1494-1497 Oil on panel 89 x 74 cm cjr
81866 Maria mit Kind vor einer Landschaft  Maria mit Kind vor einer Landschaft   Oil on panel Deutsch: Pappelholz Dimensions Deutsch: 89 x 74 cm cyf
39695 Martyrdom of the 10000 Christians  Martyrdom of the 10000 Christians   mk150 99x87cm
1041 Martyrdom of the Ten Thousand  Martyrdom of the Ten Thousand   1508 Art History Museum, Vienna
63573 Mass  Mass   307 x 221 mm Staatliche Museen, Berlin The late date is justified by the simplified and strictly planar representation. Depth of field is not lacking, but occurs only in a regular succession of planes, The drawing also has interest for historians of architecture: an arcade with columns that have an intermediate entablature above their capitals. The connection between this and the transverse column pairs in the side aisle (which breaks down into isolated bays) is unclear. The geminate altarpiece is in pure (North Italian) Renaissance style.Artist:D?RER, Albrecht Title: Mass Painted in 1501-1550 , German - - graphics : study
63662 mein Agnes  mein Agnes   1494 Pen drawing in bistre on white paper, 156 x 98 mm Graphische Sammlung Albertina, Vienna When D?rer finally returned to Nuremberg in May 1494 he was 23, fully-trained and could open his own workshop. Albrecht the Elder had felt it was time for his son to marry and had chosen a wife during his long absence. On 7 July, just a few weeks after his return, D?rer was married to Agnes Frey, the daughter of the skilled and prosperous coppersmith Hans Frey and his wife Anna Rummel. It was probably just before their wedding that D?rer sketched his fianc?e, then in her late teens. Capturing her pensive mood with just a few strokes of the pen, D?rer lovingly inscribed it: `My Agnes'. Agnes, who still appears girlish, even childlike, here, is sitting at a table and supporting her head pensively on her right hand, her hair tied back. The intimacy of this everyday sketch is unusual, showing the depicted woman at a moment when she evidently thought herself to be unobserved.Artist:D?RER, Albrecht Title: "mein Agnes" Painted in 1501-1550 , German - - graphics : portrait
44876 Melancholia  Melancholia   mk176 9.5x7.5
25938 Melancholia I (MK45)  Melancholia I (MK45)   1514 Copperplate engraving 23.9X16.8cm Berlin,Staatliche Museen zu Berlin-Preubischer Kulturbesitz,Kupferstichkabinett
42422 Melencolia I  Melencolia I   mk168 240x186mm
42403 Michael Wolgemut  Michael Wolgemut   mk168 29x27cm Oil on linden wood
42238 Model for the Portraits of the Emperors  Model for the Portraits of the Emperors   mk168 Pen and ink on paper,with watercolor London
84293 Mother of Sorrows  Mother of Sorrows   Date ca. 1496(1496) Medium Oil on pine panel Dimensions Height: 109.2 cm (43 in). Width: 43.3 cm (17 in). cjr
42380 Nemesis  Nemesis   mk168 325x232mm
63580 Nemesis or Good Fortune  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
42321 Nude Seen From Behind  Nude Seen From Behind   mk168 283x224mm
42320 Nude With Staff seen from behind  Nude With Staff seen from behind   mk168 320x210mm
63686 Nuremberg and Venetian Women  Nuremberg and Venetian Women   1496-97 Pen drawing on paper, 241 x 160 mm St?delsches Kunstinstitut, Frankfurt This pen drawing is an eloquent example of D?rer's interest in costumes, which he here places side by side comparatively. The two women, one from Nuremberg and one from Venice, appear as if they were taking a stroll together in Venice. The lavish ornamentation and low neckline of the liberal, pretty Venetian costume contrasts with the modest, simple dress of the Nuremberg woman.Artist:D?RER, Albrecht Title: Nuremberg and Venetian Women Painted in 1501-1550 , German - - graphics : other
42374 Nuremberg Seen From the south  Nuremberg Seen From the south   mk168 163x344mm
63641 Nuremberg Woman Dressed for Church  Nuremberg Woman Dressed for Church   1500 Pen and ink and watercolour on paper, 325 x 218 mm Graphische Sammlung Albertina, Vienna D?rer, who seems to have dressed well himself, was always interested in depicting clothing and he produced some of the earliest known costume studies in European art. This is one of a set of four costume studies of Nuremberg women, two of them in dancing dresses and one in everyday attire. The artist's wife Agnes; then in her mid-twenties, was probably the model. The watercolour is inscribed: `This is how people dress for church in Nuremberg' along with the text `Think of me in Thy Realm'. Dressed in her best clothes for church, the demure young woman wears a red cloak with a green lining and beneath this is a blue-green dress fringed with white fur. She has a starched linen headdress. Her eyes look down at the ground, in a contemplative pose. Four years later D?rer used this study in his woodcut of the Marriage of the Virgin. The Nuremberg woman appears at the right of the print, in reverse, as one of the seven virgins who were Mary's companions.Artist:D?RER, Albrecht Title: Nuremberg Woman Dressed for Church Painted in 1501-1550 , German - - graphics : other
42400 Old woman with Bag of coins  Old woman with Bag of coins   mk168 35x29cm Oil on linden wood
42247 One of the Foolish Virgins  One of the Foolish Virgins   mk168 120x84mm
42249 one of the wise virgins  one of the wise virgins   mk168 292x203mm
30942 Parrot in Three Positions  Parrot in Three Positions   mk68 c.1500
52023 Paumgartner Altar  Paumgartner Altar   c. 1503 Oil on lime panel, 151 x 61 cm
52024 Paumgartner Altar  Paumgartner Altar   c. 1503 Oil on lime panel, 155 x 126 cm
52025 Paumgartner Altar  Paumgartner Altar   c. 1503 Oil on lime panel Alte Pinakothek
63745 Paumgartner Altar  Paumgartner Altar   1503 Oil on lime panel Alte Pinakothek, Munich In the background, an old and young shepherd, deep in conversation, are stepping up to the holy scene. As the old shepherd stretches out his hand in a rhetorical gesture, the other one turns towards him. The foreshortened frontal view of the young shepherd indicates Italian models such as Andrea Mantegna and others whose works D?rer had encountered during his first Italian journey.Artist:D?RER, Albrecht Title: Paumgartner Altar (detail of central panel) Painted in 1501-1550 , German - - painting : religious
63746 Paumgartner Altar  Paumgartner Altar   1503 Oil on lime panel, 151 x 61 cm Alte Pinakothek, Munich The side wings depict St George on the left and St Eustace on the right, complete with their attributes on their banners as recorded in the Legenda aurea. St George was a crusader and had liberated the Libyan town of Silena from the dragon, while the Crucified Christ had appeared to St Eustace in a forest in the antlers of a stag, thus converting him to Christianity. The donors themselves appear in the form of their personal saints. On the left, facing the central panel, Stephan Paumgartner appears as St George, and on the right Lukas Paumgartner appears as St Eustace. Both are wearing splendid knightly armor. They are Christian knights, guards and protectors of the holy shrine, the Nativity of Christ in the central panel where they appear once more as part of the group of the donating family.Artist:D?RER, Albrecht Title: Paumgartner Altar (right wing) Painted in 1501-1550 , German - - painting : religious
92011 Paumgartner Altar  Paumgartner Altar   1503(1503) Medium oil on linden Dimensions Height: 155 cm (61 in). Width: 126 cm (49.6 in). cyf
1036 Paumgartner Altarpiece  Paumgartner Altarpiece   1498-1504 Pinakothek, Munich
40282 Paumgatner Altar  Paumgatner Altar   mk156 1502-04 Oil on lime panel 155x126cm
42340 Peaparatory study for the engraving  Peaparatory study for the engraving   mk168 246x185mm
63600 Peasant Couple Dancing  Peasant Couple Dancing   118 x 75 mm Metropolitan Museum of Art, New York In spite of the elephantine stamping of their feet, the impression and the form are magnificent. The peasants are not shown sneeringly as earlier, but as a character study.Artist:D?RER, Albrecht Title: Peasant Couple Dancing Painted in 1501-1550 , German - - graphics : genre
42313 Peasants at Market  Peasants at Market   mk168 116x73mm
63626 Philipp Melanchthon  Philipp Melanchthon   1526 Engraving, 174 x 127 mm Museum of Fine Arts, Boston Philipp Melanchthon (1497-1560) was one of the great humanists of his age. He was the German author of the Confession of Augsburg of the Lutheran Church (1530), humanist, reformer, theologian, and educator. His original name Philipp Schwartzerd means Black Earth in German, in Greek, Melanchthon. After studying in Heidelberg and T?bingen, he taught as a professor in Wittenberg. The main emphasis of his research was on theology, philosophy and rhetoric. In 1521 Melanchthon published the Loci communes, the first systematic treatment of evangelical doctrine. Because of his academic expertise he was asked to help in founding schools, and he virtually reorganized the whole educational system of Germany, founding and reforming several of its universities. In November 1525 and May 1526 he visited Nuremberg at the invitation of the city council in order to establish the first public school. Melanchthon is facing to the right in a striking three quarter profile. The epitaph-like Latin inscription refers to the humanist discussion Melanchthon led on the portrayability of the human character: "1526. Viventis potuit Dvreris Ora Philippi Mentem non Potuit Pingere Docta Manus" (1526. D?rer was able to draw the features of Philipp from life, but his expert hand could not capture his spirit. A.D.). It can be pointed out that the reflection of a window in the eyes verges on the ridiculous in this case, as the indication of clouds in the background show that Melanchthon is supposed to be standing in the open air.Artist:D?RER, Albrecht Title: Philipp Melanchthon Painted in 1501-1550 , German - - graphics : portrait
42343 Pige Decoration for WIllibald Pirckheimer  Pige Decoration for WIllibald Pirckheimer   mk168 300x210mm
42449 Pilate Washing his Hands  Pilate Washing his Hands   mk168 1512 117x75mm
42466 Piper and Drummer  Piper and Drummer   mk168 94x51cm Oil on linden wood
82967 Portra des Kaisers Maximilians I  Portra des Kaisers Maximilians I   1519 Medium Oil on panel cyf
82923 Portra eines Unbekannten mit roter Schaube  Portra eines Unbekannten mit roter Schaube   Oil on panel Dimensions Deutsch: 52 x 40 cm cyf
42494 Portrait of a boy with a long beard  Portrait of a boy with a long beard   mk168 552x278mm Watercolor on canvas
42404 Portrait of a Clergyman  Portrait of a Clergyman   mk168 41.5x33cm Oil on vellum Mounted on wood
63666 Portrait of a Girl  Portrait of a Girl   1515 Charcoal, 420 x 290 mm Staatliche Museen, Berlin It has been conjectured that the girl, whose eyes are not open equally wide and who has a somewhat sleepy expression, was a relative of D?rer's wife.Artist:D?RER, Albrecht Title: Portrait of a Girl Painted in 1501-1550 , German - - graphics : portrait
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
76746 Selbstmord der Lukretia  Selbstmord der Lukretia   Date 1518(1518) Medium Oil on linden Dimensions 168 ?? 74,8 cm cyf
42216 Sele-Portrait with Bandage  Sele-Portrait with Bandage   mk168 204x208cm
42222 Sele-portrait with Landscape  Sele-portrait with Landscape   mk168 52x41cm
1032 Self Portrait in a Fur Coat  Self Portrait in a Fur Coat   1500 Pinakothek, Munich
97481 Self portrait of Albrecht Durer  Self portrait of Albrecht Durer   1508(1508) Medium oil on panel transferred on canvas Dimensions 99 X 87 cm cyf
1031 Self Portrait with Gloves  Self Portrait with Gloves   1498 Museo del Prado, Madrid
55982 self portrait with gloves  self portrait with gloves   mk247 1498,oil on panel,20x16 in,52x41 cm,museo del prado,madrid,spain
1030 Self Portrait _8  Self Portrait _8   1493 Musee du Louvre, Paris
26718 Self-Portrait  Self-Portrait   mk52 1500 Oil on wood 67x49cm Alte Pinakothek,Munich
28510 Self-Portrait  Self-Portrait   mk61 1498
28729 Self-Portrait  Self-Portrait   mk61 1498 Oil on panel 52x41cm
33508 Self-Portrait  Self-Portrait   mk86 1498 Oil on wood 52x41cm Oil on wood 52x41cm Madrid,Museo del Prado
42214 Self-Portrait  Self-Portrait   mk167 276x202mm New York
44875 Self-portrait  Self-portrait   mk176 1500 Oil on panel 26x19
21354 Self-portrait (mk08)  Self-portrait (mk08)   1498 Oil on wood 52x41cm Madrid,Museo del Prado
21821 Self-Portrait (mk10)  Self-Portrait (mk10)   1493,Oil on parchment Mounted on canvas 56 x 44 cm Paris,Musee du Louvre
25911 Self-Portrait (mk45)  Self-Portrait (mk45)   1498 Oil on panel 52x41cm Madrid,Museo Nacional del Prado
25967 Self-Portrait (mk45)  Self-Portrait (mk45)   1493 Parchment on panel 56.5x44.5cm Paris,Musee du Louvre
42209 Self-portrait as a Boy  Self-portrait as a Boy   mk168 275x196cm Vienna
63635 Self-Portrait as the Man of Sorrows  Self-Portrait as the Man of Sorrows   1522 Drawing with lead pencil on blue-green primed paper, 408 x 290 mm Kunsthalle, Bremen The drawing was destroyed in war. The Man of Sorrows is generally considered to be a self-portrait of D?rer created during his journey to the Netherlands. Semi-naked with a sunken chest and lips parted in pain, the man is gazing very naturalistically out of the picture. His crossed arms and the Instruments of the Passion such as the scourge and fasces remind us of Christ's sufferings.Artist:D?RER, Albrecht Title: Self-Portrait as the Man of Sorrows Painted in 1501-1550 , German - - graphics : portrait
63644 Self-Portrait at 13  Self-Portrait at 13   1484 Silverpoint on paper, 275 x 196 mm Graphische Sammlung Albertina, Vienna At the age of 13, D?rer created the earliest self-portrait of an artist at so young an age. Using silverpoint, the features of D?rer with which we are familiar from later self-portraits, though still rather childlike here, are depicted with gentle strokes. Like one of Martin Schongauer's Late Gothic angels in depictions of the Annunciation, the boy is also pointing to the right. His left hand is concealed beneath his sleeve, thus suggesting that this self-portrait was painted in front of a mirror.Artist:D?RER, Albrecht Title: Self-Portrait at 13 Painted in 1501-1550 , German - - graphics : portrait
63728 Self-portrait at 22  Self-portrait at 22   1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait
89380 self-portrait at 22  self-portrait at 22   1493(1493) Medium Oil on linen, transferred from vellum cyf
63730 Self-Portrait at 26  Self-Portrait at 26   1498 Oil on panel, 52 x 41 cm Museo del Prado, Madrid This self portrait is dated 1498 and inscribed: `I have thus painted myself. I was 26 years old. Albrecht D?rer.' Since the artist turned 27 on the 21 May, the picture must date from the beginning of the year. The artist's pose is self confident, showing him standing upright and turning slightly to lean his right arm on a ledge. D?rer's figure fills the picture, with his hat almost touching the top. His face and neck glow from the light streaming into the room and his long curly hair is painstakingly depicted. Unlike his earlier self portrait, he now has a proper beard, which was then unusual among young men. Nine years later D?rer wrote an ironic poem in which he described himself as `the painter with the hairy beard'. The artist's clothing is flamboyant. His elegant jacket is edged with black and beneath this he wears a white, pleated shirt, embroidered along the neckline. His jaunty hat is striped, to match the jacket. Over his left shoulder hangs a light-brown cloak, tied around his neck with a twisted cord. He wears fine kid gloves. Inside the room is a tall archway, partly framing D?rer's head, and to the right a window opens out onto an exquisite landscape. Green fields give way to a tree-ringed lake and beyond are snow-capped mountains, probably a reminder of D?rer's journey over the Alps three years earlier. Depicting a distant landscape, viewed through a window, was a device borrowed from Netherlandish portraiture. The Germans still tended to consider the artist as a craftsman, as had been the conventional view during the Middle Ages. This was bitterly unacceptable to D?rer, whose second Self-Portrait (out of three) shows him as slender and aristocratic, a haughty and foppish youth, ringletted and impassive. His stylish and expensive costume indicates, like the dramatic mountain view through the window (implying wider horizons), that he considers himself no mere limited provincial. What D?rer insists on above all else is his dignity, and this was a quality that he allowed to others too. This picture was acquired by Charles I of England and later bought by Philip IV of Spain.Artist:D?RER, Albrecht Title: Self-Portrait at 26 Painted in 1501-1550 , German - - painting : portrait
63738 Self-Portrait in a Fur-Collared Robe  Self-Portrait in a Fur-Collared Robe   1500 Oil on lime panel, 67,1 x 48,7 cm Alte Pinakothek, Munich The last of D?rer's three magnificent self-portraits was painted early in 1500, before his 29th birthday on 21 May. The picture is proudly inscribed: `Thus I, Albrecht D?rer from Nuremburg, painted myself with indelible colours at the age of 28 years.' It is a sombre image, painted primarily in browns, set against a plain dark background. The face is striking for its resemblance to the head of Christ. In late medieval art, Jesus was traditionally presented in this manner, looking straight ahead in a symmetrical pose. Christ's brown hair in these images is parted towards the middle and falls over the shoulders. For the first and last time in Western art history, an artist was to portray himself in a Christ-like scheme. Given his idealized appearance as the underdrawing shows, his nose was originally irregular in shape - D?rer is approaching us in "imitatio Christi", in imitation of Christ. He has a short beard and moustache. D?rer has even painted himself with brown hair, although the other self-portraits show that it was actually reddish-blond. D?rer deliberately set out to create a Christ-like image, with his hand raised to his chest almost in a pose of blessing. But this was no gesture of arrogance or blasphemy. It was a statement of faith: Christ was the son of God and God had created Man. For D?rer, the painting was an acknowledgment that artistic skills were a God-given talent. However, D?rer has subtly departed from the traditional image of Christ in his self-portrait. Despite initial appearances, the picture is not quite symmetrical. The head lies just off the centre of the panel to the right and the parting of the hair is not exactly in the middle, with the strands of hair falling a little differently on the two sides. The eyes stare slightly towards the left of the panel. D?rer also wears contemporary clothing, a fashionable fur-lined mantle. The result is a highly personal image, one whose `indelible colours' still influence the way we imagine D?rer looked in his later years. The deceptive illusionism in which the picture is painted is also, however, a reference to the classical artistic legend about Apelles, with whom he had been compared by contemporary humanists.Artist:D?RER, Albrecht Title: Self-Portrait in a Fur-Collared Robe Painted in 1501-1550 , German - - painting : portrait
92004 self-portrait in a Fur-Collared Robe  self-portrait in a Fur-Collared Robe   1500(1500) Medium oil on linden cyf
42220 Self-portrait in the nude  Self-portrait in the nude   mk168 pen and brush 291x153mm
42210 Self-Portrait of Durer-s Father  Self-Portrait of Durer-s Father   mk168 284x212mm
63647 Self-Portrait with a Bandage  Self-Portrait with a Bandage   1491-92 Pen drawing on paper, back side, 204 x 208 mm Graphische Sammlung der Universit?tsbibliothek, Erlangen D?rer's self portrait with a bandage presumably dates from the first period of his journeys; it was sketched with rapid strokes, and D?rer's face with his inquiring gaze stands out. The hand gesture is reminiscent of the tradition of depictions of Christ suffering, of melancholy and sleep. An interpretation of melancholy fits in most readily with a self portrait in this manner.Artist:D?RER, Albrecht Title: Self-Portrait with a Bandage Painted in 1501-1550 , German - - graphics : portrait
30450 Self-Portrait with Fur Coat  Self-Portrait with Fur Coat   mk68 Oil on limewood 26 1/2"x19 1/2" Munich Alte Pinakothek 1500,Germany
23285 Self-Portrait with Gloves (nn03)  Self-Portrait with Gloves (nn03)   1498 Oil on panel 52 x 41 cm 20 1/2 x 16 1/8 in Museo del Prado Madrid
26717 Self-Portrait with Landscape  Self-Portrait with Landscape   mk52 1498 Oil on wood 52x41cm Prado,Madrid
42219 Self-Portrait with sea holly  Self-Portrait with sea holly   mk168 56.5x44.5cm Paris
40279 Self-protrait in a Fur-Collared Robe  Self-protrait in a Fur-Collared Robe   mk156 1500 Oil on limewood panel 67.1x48.9cm
63657 Side, Front, and Back View of a Helmet  Side, Front, and Back View of a Helmet   1503 Pen, 422 x 268 mm Mus?e du Louvre, Paris The date 1514 is false. D?rer apparently owned the helmet. The side view was used in the 1503 copperplate engraving "The Coat-of-arms of Death," the front view in the engraving (to be dated not much later) "Coat-of-arms with a Rooster."Artist:D?RER, Albrecht Title: Side, Front, and Back View of a Helmet Painted in 1501-1550 , German - - graphics : study
63684 Six Goblets - Pen  Six Goblets - Pen   200 x 285 mm Bibliothek, Dresden The legend reads: "morgen will ich ir mer machn" (tomorrow I shall make more of them). Individual Italian motifs are mingled with the German late Gothic style.Artist:D?RER, Albrecht Title: Six Goblets Painted in 1501-1550 , German - - graphics : other
42213 Six Pillows  Six Pillows   mk167 Pen and ink on paper 276x202mm
53757 Sjalvportratt  Sjalvportratt   mk234 1498 40x52cm
56574 sjalvportratt  sjalvportratt   mk248 kompositionen av detta portratt pa panna foljer den florentinska stilen.klader,frisyr ocb utsikten mot de snotackta bergen i fjarran ar indikationer pa att durer betraktade sig sjalu som en adel varldsman, ingen vanlig provinsiell bantverlare.
42349 Sketch Sheet with the Rape of Europa  Sketch Sheet with the Rape of Europa   mk168 290x415mm
52026 St Anne with the Virgin and Child  St Anne with the Virgin and Child   1519 Oil and tempera on canvas
63609 St Anthony  St Anthony   96 x 143 mm Metropolitan Museum of Art, New York D?rer recorded in his diary of the trip to the Low Countries, 1520/21, that he gave away St Anthony as a present on six occasions. It is one of the very few D?rer engravings in horizontal format. St Anthony (ca. 250-350 A.D.) was the first Christian monk. He lived in Egypt and loved poverty, piety and scholarship. The traditional rendering of this saint shows him in the desert beset by fantastic creatures, a scene which allows the freest reign to an artist's imagination. But D?rer chose to picture him in a melancholy mood, in a setting where the scenery dominates the composition. The background is a cityscape taken over from an entirely different subject, the drawing Pupila Augusta which D?rer had laid aside many years before. The composition is almost cubistic in concept. The contours of saint and scene correspond. During this year D?rer experimented with "cubistic" figures and faceted faces, which like St Anthony seem to have been put together block by block.Artist:D?RER, Albrecht Title: St Anthony Painted in 1501-1550 , German - - graphics : religious
63611 St Apollonia  St Apollonia   1521 Chalk drawing on green primed paper, 414 x 288 mm Staatliche Museen, Berlin The chalk drawing was an individual study for a planned monumental Madonna with saints, of which six preliminary drawings exist. The figure of St Apollonia appears on two of these studies. The drawing depicts a moment of spiritualization: St Apollonia is portrayed as a young woman who appears to be imbued with inner concentration. She is portrayed in so individual a style that it is still disputed whether D?rer used a model or created an ideal figure from his imagination.Artist:D?RER, Albrecht Title: St Apollonia Painted in 1501-1550 , German - - graphics : study
63619 St Bartholomew  St Bartholomew   1523 Engraving, 122 x 76 mm Metropolitan Museum of Art, New York The knife in the hand of the saint is the instrument of his martyrdom. The engravings of the Apostles of this last period are quite subdued and unemotional. The stance requires the viewer to look at the head of the saint and to seek out what characterizes his greatness. The absence of a halo, which distinguishes this plate and St Simon from the earlier members of the set of Apostles, can be pointed out. St Bartholomew is more down-to-earth than the lofty type of 1514. These men are more modest, like artisans; their bodies disappear beneath the draperies. They fill the picture area from top to bottom and have a metallic quality, almost like bronze statues. The preparatory drawing is, in this case, much larger than the print.Artist:D?RER, Albrecht Title: St Bartholomew Painted in 1501-1550 , German - - graphics : religious
63617 St Christopher Facing to the Left  St Christopher Facing to the Left   1521 Engraving, 119 x 75 mm Metropolitan Museum of Art, New York This engraving is obviously the later of the two versions of 1521. The meaning is here conveyed more poignantly, as the saint, instead of looking straight ahead, turns his head toward the Infant Christ. The hermit, in this case, is moved further into the background. This engraving is probably also based on the drawings prepared for Joachim Patenier. It can be noted in this connection that Patenier's painting at the Escorial shows a quite similar group, only in mirror image. Both engravings are based on the account of St Christopher in Passional oder der Heiligen Leben, Nuremberg, 1488, published by Anton Koberger, D?rer's godfather.Artist:D?RER, Albrecht Title: St Christopher Facing to the Left Painted in 1501-1550 , German - - graphics : religious
63616 St Christopher Facing to the Right  St Christopher Facing to the Right   1521 Engraving, 117 x 75 mm Metropolitan Museum of Art, New York This is the first engraving after D?rer's return from his long stay in the Netherlands. He had left on July 12, 1520, together with his wife and a maid, in order to appeal to the new Emperor, Charles V, to confirm his annuity. No engravings were executed during this trip. D?rer returned to Nuremberg toward the end of July 1521, having been greatly honoured, yet also a sick man suffering from malaria. This engraving is presumably based on one of the several drawings D?rer made at Antwerp for the Dutch landscape painter Joachim Patenier in May 1521. The hermit in the background is carrying a torch.Artist:D?RER, Albrecht Title: St Christopher Facing to the Right Painted in 1501-1550 , German - - graphics : religious
63579 St Eustace  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
63589 St George on Horseback  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
63602 St Jerome in his Study  St Jerome in his Study   1514 Engraving, 259 x 201 mm Staatliche Kunsthalle, Karlsruhe St Jerome in his Study is stressing the contemplative rather than the active aspect of Christian life. The engraving shows the translator of the Bible deep in thought at his lectern, with the figure of the saint illuminated by sunlight streaming through the window panes into the cosy room. In front of St Jerome are the resting figures of his faithful lion and dog. A skull on the windowsill and an hourglass above the saint are reminders of the transience of life. The astonishing advance in D?rer's printmaking technique is evident when this engraving is compared with his early woodcut of the same subject. D?rer, according to the diary of his trip to the Netherlands during 1521-21, sold or gave away copies of this print more frequently than any of his others. It has been repeatedly asserted that this engraving was to be part of a projected series representing the four human temperaments. Only two others have been so far identified, Melencolia I, and Knight, Death and Devil. Although they correspond in size, D?rer never gave away all three as a set. Occasionally he gave away St Jerome and Melencolia I as a pair. In the last of the three master engravings, D?rer placed particular emphasis on the subtle differentiation of the material qualities of the objects, and the depiction of the interior according to the laws of central perspective, the converging lines of which terminate in the space to the right of the figure of the saint. The design is based on an exact plan of perspective. A certain degree of distortion is due to the fact that the vanishing point is placed close to the margin instead of the centre. This is a peculiarity that can be observed in other works by D?rer.Artist:D?RER, Albrecht Title: St Jerome in his Study Painted in 1501-1550 , German - - graphics : religious
63642 St Jerome in His Study  St Jerome in His Study   1511 Pen, 190 x 151 mm Biblioteca Ambrosiana, Milan Preliminary study for the woodcut, in which the composition is further simplified and compressed, a large white curtain of diagonal contour playing a decisive role in the change.Artist:D?RER, Albrecht Title: St Jerome in His Study Painted in 1501-1550 , German - - graphics : study
63731 St Jerome in the Wilderness  St Jerome in the Wilderness   1495 Oil on panel, 23 x 17 cm National Gallery, London St Jerome kneels as a penitent. In his right hand he holds the Bible, which he translated into Latin, and in his left hand the stone which he is using to beat his breast. His eyes stare upwards, beyond the small crucifix stuck into the tree trunk. Wearing a blue gown, his red mantle and cardinal's hat lie beside him on the ground. Behind is his faithful lion, befriended after he had removed a thorn from its paw. In the background is a landscape with dramatic rock formations, probably based on sketches that D?rer had made of the quarries near Nuremberg. The scene is lit by a dramatic evening sky. The reverse of the panel depicts an apocalyptic celestial phenomenon, a red star-like light and a streaking golden disc. Although some scholars have considered it to be an eclipse or meteor, it is almost certainly a comet. D?rer's image is probably derived from woodcuts of comets published in the Nuremberg Chronicle of 1493. A similar object to the one painted by D?rer appears in the sky of his engraving of Melencolia I, made 20 years later. This small panel was only recognized as a D?rer in 1956. Art historian David Carritt realized that the lion is similar to that in a gouache which D?rer painted in Venice in 1494.Artist:D?RER, Albrecht Title: St Jerome in the Wilderness Painted in 1501-1550 , German - - painting : religious
63567 St Jerome Penitent in the Wilderness  St Jerome Penitent in the Wilderness   1496 Engraving, 324 x 228 mm Metropolitan Museum of Art, New York The stone in the saint's right hand serves to strike his chest. In this engraving too Italian influence is manifest. The scenery in the background, however, is based on sketches of quarries in the vicinity of Nuremberg). There is a certain lack of cohesion between the various parts of this unusually large plate. St Jerome, one of the most learned Fathers of the Church and author of the Vulgate, was born in 331 or 342 in Dalmatia of a well-to-do family. He died in 420. He was one of the favourite saints of D?rer's time, but, curiously, Martin Luther was less than fond of him. "I know of no one among the teachers whom I bear as much enmity as St Jerome, for he speaks only of fasting, virginity, etc."Artist:D?RER, Albrecht Title: St Jerome Penitent in the Wilderness Painted in 1501-1550 , German - - graphics : religious
63572 St John's Church  St John's Church   1489 Watercolour and gouache on paper, 29 x 42 cm The Hermitage, St. Petersburg This watercolour is among the earliest landscape paintings in European art to depict a specific location. D?rer may well have painted it in the summer of 1489, at the age of 18, although it could date from 1494 after his journeyman travels. Inscribed `Saint John's Church', it shows the church and a row of houses which lay just to the west of Nuremberg. Nearly 40 years later D?rer was to be buried in Saint John's graveyard. D?rer's watercolour view faces south, with a view of the distant hills beyond. The perspective is curious; it is almost a bird's-eye view. The row of houses appears flat rather than three-dimensional. Despite these problems, D?rer has lavished great care on the picture. In his early watercolours he was more concerned about the rendering of detail, rather than the overall effect. The watercolour of Saint John's Church was looted during the Second World War and lost for nearly 50 years. Owned by the Kunsthalle in Bremen, it was among thousands of Old Master drawings which had been hidden for safekeeping in the cellar of a mansion 50 miles north-west of Berlin. The Red Army occupied the house in 1945 and soldiers ransacked the art works. Viktor Baldin, a young officer, found this watercolour on the floor, among a mass of works abandoned by the first looters. He saved the picture, along with 363 other drawings (including 22 D?rers), and brought it back to Russia. Baldin later gave the drawings to the architectural museum near Moscow where he worked. The existence of the missing Bremen pictures was kept secret until 1992. They are temporarily at the Hermitage in St Petersburg and lengthy negotiations are likely before their return to Bremen.Artist:D?RER, Albrecht Title: St John's Church Painted in 1501-1550 , German - - graphics : landscape
63638 St Peter and St John Healing the Cripple  St Peter and St John Healing the Cripple   1513 Engraving, 118 x 74 mm Metropolitan Museum of Art, New York Sheet No. 16 of the Engraved Passion. This engraving, considered as the last sheet of the Engraved Passion, is, in fact, outside the scope of a Passion series. D?rer cannot possibly have intended it as the final sheet. It may therefore be presumed that he planned to add further subjects which were never completed. It has been left out of most of the old bound copies of the Engraved Passion, and may have been intended as the first sheet of a projected series of the Apostles. The contrast of the statuesque greatness of the Apostle and the merciless condition of the cripple is notable. This engraving is perhaps derived from Masaccio's fresco The Tribute Money in the Brancacci Chapel in Florence. St Peter is based on a drawing for the Heller Altarpiece; the man on the far left is inspired by a medal of John Paleologus. The ailment of the cripple has been identified as leprosy.Artist:D?RER, Albrecht Title: St Peter and St John Healing the Cripple (No. 16) Painted in 1501-1550 , German - - graphics : religious
63625 St Philip  St Philip   1526 Engraving, 122 x 76 mm Metropolitan Museum of Art, New York St Philip was crucified in the reign of Emperor Domitian. This is the fifth and last sheet of the unfinished series of Apostles. The great white mantle pleased D?rer so much that he used it again in his painted panels of Four Apostles in 1526. The handling is very bold and shows the skill due to the absolute command of the graver. The long sweeping lines which marked D?rer's earlier work, as St Jerome in Penitence, reappear, especially in the background. This work was apparently finished in 1523, based on the preparatory drawing bearing that date.Artist:D?RER, Albrecht Title: St Philip Painted in 1501-1550 , German - - graphics : religious
63620 St Simon  St Simon   1523 Engraving, 118 x 75 mm Metropolitan Museum of Art, New York The saw was St Simon's instrument of torture. This engraving and the St Bartholomew are done in the 'corrugated style' where stereometrically simplified forms are contrasted with complicated systems of prominences and indentations so that the whole gives the impression of a compact massif broken up into big tablelands, craggy rocks and deep ravines. The preparatory drawing had been intended for the St John of the Great Crucifixion but was revised and used for this print.Artist:D?RER, Albrecht Title: St Simon Painted in 1501-1550 , German - - graphics : religious
42638 St. Eustachius  St. Eustachius   MK169 1501 buyer engraving 35.5x25.9cm British Museum Rewarded
42476 St. George  St. George   mk168 Oil on linden wood 157x61cm
42304 St.Anthony The Hermit  St.Anthony The Hermit   mk168 96x143mm
42292 St.Apollonia  St.Apollonia   mk168 414x288mm
42458 St.Christopher  St.Christopher   mk168 46x36cm Oil on wood
42282 St.Dominic  St.Dominic   mk168 416x288mm Vienna
42477 St.Eustace  St.Eustace   mk168 157x61cm Oil on linden wood Munich
42309 St.Francis Receiving the Stigmata  St.Francis Receiving the Stigmata   mk168 218x144mm
29926 St.James the Apostle  St.James the Apostle   mk67 Tempera on canvas 18 1/8x14 9/16in Uffizi,Gallery
42290 St.Jerome in his Cell  St.Jerome in his Cell   mk168 Oil on wood 60x48cm
42254 St.Jerome in his study  St.Jerome in his study   mk168 192x134mm
42299 St.Jerome in his study  St.Jerome in his study   mk168 247x188mm
1055 St.Jerome in the Wilderness  St.Jerome in the Wilderness   1494 Fitzwilliam Museum, Cambridge
42425 St.John Devouring the book  St.John Devouring the book   mk168 391x284mm
42471 St.John the Baptist  St.John the Baptist   mk168 Oil on wood 58x20cm
42426 St.Michael Battling the Dragon  St.Michael Battling the Dragon   mk168 394x283mm
42470 St.Onuphrius  St.Onuphrius   mk168 Oil on linden wood 58x20cm
29927 St.Philip the Apostle  St.Philip the Apostle   mk67 Tempera on canvas 17 11/16x15in Uffizi,Gallery
42467 Sts.Joseph and Joachim  Sts.Joseph and Joachim   mk168 Oil on linden wood 94x54cm
42468 Sts.Simeon and Lazarus  Sts.Simeon and Lazarus   mk168 97x55cm Oil on linde wood 9
63656 Studies of Self-Portrait  Studies of Self-Portrait   Hand and Pillow 1493 Pen and ink on paper, 28 x 20 cm Metropolitan Museum of Art, New York This sketched self-portrait was on the reverse of the painted self-portrait of 1493, now in the Mus?e du Louvre, Paris. It could well have been an early study for the oil painting.Artist:D?RER, Albrecht Title: Studies of Self-Portrait, Hand and Pillow Painted in 1501-1550 , German - - graphics : study
63671 Study of a Drapery  Study of a Drapery   1508 Brush drawing on dark paper with white highlights, 257 x 192 mm Mus?e du Louvre, Paris Study for the Christ in the Coronation of the Virgin section of the Heller Altar.Artist:D?RER, Albrecht Title: Study of a Drapery Painted in 1501-1550 , German - - graphics : study
63593 Study of a Man Aged  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
63683 Study of a Man with a Drill  Study of a Man with a Drill   1496 Pen and ink on paper, 251 x 151 mm Mus?e Bonnat, Bayonne This is a study for the lower right panel of The Seven Sorrows of the Virgin (Gem?ldegalerie, Dresden). The panel depicts the Nailing to the Cross, where a man in the centre is drilling a hole in the Cross.Artist:D?RER, Albrecht Title: Study of a Man with a Drill Painted in 1501-1550 , German - - graphics : study
63660 Study of an Apostle's Hands  Study of an Apostle's Hands   1508 Brush drawing on blue primed paper, 290 x 197 mm Graphische Sammlung Albertina, Vienna Several individual studies made for the destroyed altarpiece commissioned by the Frankfurt merchant and councilman Jakob Heller still survive. The so-called Praying Hands were a preliminary study for an apostle. Removed from their original context, they have been viewed as an autonomous work of art and have become enormously popular. In the 19th and 20th centuries in particular, numerous reproductions of the Praying Hands have graced the walls of middle-class homes as an embodiment and symbol of German piety.Artist:D?RER, Albrecht Title: Study of an Apostle's Hands (Praying Hands) Painted in 1501-1550 , German - - graphics : study
63645 Study of an Architect  Study of an Architect   1506 Brush and ink heightened with white on paper, 386 x 262 mm Staatliche Museen, Berlin D?rer worked very hard on the Altarpiece of the Rose Garlands, and no less than 22 of his studies for the work have survived. These include a sketch of an architect holding a set square, probably Hieronymous of Augsburg. He is dressed in black at the far right of the painting, near the front. Hieronymous was then working on the reconstruction of the Fondaco dei Tedeschi, the Germans' trading house in Venice which had been destroyed by fire in 1505.Artist:D?RER, Albrecht Title: Study of an Architect Painted in 1501-1550 , German - - graphics : study
63665 Study of Drapery  Study of Drapery   1508 Brush drawing on a dark ground with white highlight, 400 x 235 mm Staatliche Museen, Berlin This drawing, a study for the figure of St Paul in the Heller Altar, is a primary example of the monumental drapery of the middle period. The contrast with Gr?newald should be borne in mind: in D?rer, the light and shade are entirely subservient to the plastic form; in Gr?newald, they create a general, unseizable movement that extends beyond the surfaces and blends the figure into the background.Artist:D?RER, Albrecht Title: Study of Drapery Painted in 1501-1550 , German - - graphics : study
63650 Study of Hands  Study of Hands   1506 Pen and ink heightened with white on paper, 206 x 185 mm Blasius Collection, Braunschweig D?rer's painting Christ among the Doctors (1506, Thyssen-Bornemisza Collection, Madrid) was based on a number of careful studies, including this one of Christ's gesticulating fingers.Artist:D?RER, Albrecht Title: Study of Hands Painted in 1501-1550 , German - - graphics : study
63674 Study of the Christ Child  Study of the Christ Child   1495 Pen drawing, 172 x 215 mm Mus?e du Louvre, Paris D?rer's pen drawing of a Christ Child is based on a design by the Florentine painter Lorenzo di Credi, which the latter made use of in several works, and it may have been used as a preliminary study for his Virgin and Child (Magnani Collection, Mamiano near Parma). Although the body posture and gestures differ, the types of faces of the two Infant Christs in the painting and drawing are comparable.Artist:D?RER, Albrecht Title: Study of the Christ Child Painted in 1501-1550 , German - - graphics : study
63596 Sudarium Displayed by Two Angels  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
93897 Sylvan Men with Heraldic Shields  Sylvan Men with Heraldic Shields   1499(1499) Medium oil on linden wood Dimensions Height: 49.3 cm (19.4 in). Width: 15.9 cm (6.3 in). cjr
42350 The Abduction on the Unicorn  The Abduction on the Unicorn   mk168 350x254mm 1516
63583 The Adoration  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
42480 The Adoration of the Holy Trinity  The Adoration of the Holy Trinity   mk168 135x123cm Oil on paplar
42481 The Adoration of the Holy trinity  The Adoration of the Holy trinity   mk168 135x123cm Oil n poplar
63753 The Adoration of the Holy Trinity  The Adoration of the Holy Trinity   1511 Oil on lindenwood, 135 x 123,4 cm Kunsthistorisches Museum, Vienna This work was commissioned by the Nuremberg metal trader Matth?us Landauer. Also known as the Landauer Altarpiece, it was ordered for the chapel of the Twelve-Brothers House, which he endowed for a dozen impoverished artisans. In the centre of the painted panel at the top is the Trinity. God the Father is shown as emperor, holding Christ on the Cross and surmounted by the dove of the Holy Ghost. Around the figure of God are two rings of angels. Below them, to the right, are Old Testament figures and, to the left, followers of Christ bearing palm branches. Nearer the base of the picture are the slightly larger figures of the living, led by the Pope (with a blue tiara) and the Emperor (with a golden crown). The grey-haired figure of Matth?us Landauer, the donor, is depicted on the left, being welcomed into the throng by the outstretched hand of a cardinal. The landscape at the bottom of the panel stretches into the far distance. A lone figure stands on the land - the artist, who has depicted the earthly community being reunited with the realm of heaven. His hand rests on a panel which is inscribed: `Albrecht D?rer of Nuremberg made this 1511 years after the Virgin.' D?rer also designed an ornate frame for the altarpiece. An early drawing for the frame and panel is dated 1508 and shows that they were a carefully designed ensemble. The frame still survives in the Germanisches Nationalmuseum, Nuremberg, although unfortunately it has long been separated from the painting. (The frame shown in the reproduction is an exact replica of the original.) Made of carved and painted wood, the top of the frame has a sculpted depiction of the Last Judgement, with God enthroned and surrounded by the kneeling figures of the Virgin and John the Baptist. An inscription on the base of the frame records: `Matth?us Landauer has finally completed the house of worship of the Twelve Bretheren including the donation of this panel. After Christ's birth, the year 1511.' D?rer's workshop also designed stained-glass windows for the Twelve-Brothers Chapel, but these were removed in 1810 and were destroyed in Berlin during the Second World War.Artist:D?RER, Albrecht Title: The Adoration of the Holy Trinity (Landauer Altar) Painted in 1501-1550 , German - - painting : religious
29924 The Adoration of the Magi  The Adoration of the Magi   mk67 Oil on panel 39x44 1/16in Uffizi,Gallery
42459 The Adoration of the magi  The Adoration of the magi   mk168 Oil on fir wood 75.5x170cm Basel
42469 The Adoration of the Magi  The Adoration of the Magi   mk168 100x114cm Oil on coniferouswood
86879 The Adoration of the Magi  The Adoration of the Magi   Date 1504(1504) Medium Oil on wood Dimensions Height: 100 cm (39.4 in). Width: 114 cm (44.9 in). cjr
1049 The Adoration of the Magi_z  The Adoration of the Magi_z   1504-05 Galleria degli Uffizi, Florence
33514 The Adoration of the Trinity  The Adoration of the Trinity   mk86 1511 Oil tempera on wood 135x123cm Vienna,Kunsthistorisches Museum
63754 The Adoration of the Trinity  The Adoration of the Trinity   1511 Oil on lindenwood Kunsthistorisches Museum, Vienna To the right is a figure, easily identifiable from his armor, as Landauer's son-in-law, Wilhelm Haller, a mercenary captain. In the lower part of the painting, almost to contrast the suspended scores of saints and men and women, D?rer offers us, from a slightly raised perspective, the vision of a landscape passage. This one, even more than the one in the Heller Altar, disappears into an infinite background, illuminated by a most gentle evening light that also shimmers against the clouds. In this deserted terrestrial kingdom, D?rer painted himself, the only human being. He is set apart toward the right margin, dressed as usual in a rich fur cloak, and indicative of an ancient styled tablet with the inscription: ALBERTVS DVRER NORICVS FACIEBAT ANNO A VIRGINIS PARTV[M] 1511.Artist:D?RER, Albrecht Title: The Adoration of the Trinity (detail) Painted in 1501-1550 , German - - painting : religious
63755 The Adoration of the Trinity  The Adoration of the Trinity   1511 Oil on lindenwood Kunsthistorisches Museum, Vienna The landscape at the bottom of the panel stretches into the far distance.Artist:D?RER, Albrecht Title: The Adoration of the Trinity (detail) Painted in 1501-1550 , German - - painting : religious
63756 The Adoration of the Trinity  The Adoration of the Trinity   1511 Oil on lindenwood Kunsthistorisches Museum, Vienna The landscape at the bottom of the panel stretches into the far distance. A lone figure stands on the land - the artist, who has depicted the earthly community being reunited with the realm of heaven. His hand rests on a panel which is inscribed: `Albrecht D?rer of Nuremberg made this 1511 years after the Virgin.'Artist:D?RER, Albrecht Title: The Adoration of the Trinity (detail) Painted in 1501-1550 , German - - painting : religious
88404 The Adoration of the Trinity  The Adoration of the Trinity   1511(1511) Medium Oil on linden Dimensions Height: 135 cm (53.1 in). Width: 123.4 cm (48.6 in). cjr
92060 The Adoration of the Trinity  The Adoration of the Trinity   1511(1511) Medium oil on linden cyf
92061 The Adoration of the Trinity  The Adoration of the Trinity   1511(1511) Medium oil on linden cyf
21360 The Adoration of the Trinity (mk08)  The Adoration of the Trinity (mk08)   1511 Oil tempera on wood 135x123cm Vienna,Kunsthistorisches Museum
39697 The All Saints altarpiece  The All Saints altarpiece   mk150 1511 135x126.3cm
39694 The AllSaints altarpiece  The AllSaints altarpiece   mk150 1511 135x126.3cm
42427 The Angel with the key to the Bottomless Pit  The Angel with the key to the Bottomless Pit   mk168 393x283mm
42429 The Apocalyptic woman and the seven-Headed Dragon  The Apocalyptic woman and the seven-Headed Dragon   mk168 392x279mm
96586 The Apostle James the Elder  The Apostle James the Elder   1516(1516) Medium tempera on canvas Dimensions Height: 45 cm (17.7 in). Width: 38 cm (15 in). cjr
42490 The Apostle paul and the evangelist Mark  The Apostle paul and the evangelist Mark   mk168 Oil on linden wood 214x76cm
42489 The Apostles john and Peter  The Apostles john and Peter   mk168 1528
63750 The Apostles Philip and James  The Apostles Philip and James   1516 Tempera on canvas, 45 x 38 and 46 x 37 cm Galleria degli Uffizi, Florence D?rer's monogram and the date are visible in the upper part of the two canvases, which are part of a series of twelve heads of apostles which the artist planned, though never completed. The two heads are constructed with an incisive and meticulous line, a reflection of D?rer's troubled search for moral austerity. We may recall that this was a particularly delicate time in German history, shortly before the emergence of Martin Luther and the Reformation. The two saints inspire a diffuse sense of solemn veneration, in the passionate, severe eyes, the embittered curve of the mouths, and the overabundant beards, depicted as heavy, noble masses of coiling hair.Artist:D?RER, Albrecht Title: The Apostles Philip and James Painted in 1501-1550 , German - - painting : religious
42428 The Babylonian Whore  The Babylonian Whore   mk168 392x282mm
63601 The Bagpiper  The Bagpiper   1514 Engraving, 115 x 74 mm Metropolitan Museum of Art, New York This is one of the best finished works of the artist. Like the Peasant Couple Dancing, the figure is depicted without any background or indication of the festivity for which he is playing.Artist:D?RER, Albrecht Title: The Bagpiper Painted in 1501-1550 , German - - graphics : genre
42257 The Barnyard fool  The Barnyard fool   mk168 1494
42432 The Bearing of the Cross  The Bearing of the Cross   mk168 woodcut 389x282mm
42463 The Bearing of the Cross  The Bearing of the Cross   mk168
42443 The Betrayal Caiaphas  The Betrayal Caiaphas   mk168 118x75mm 1508
42302 The Betrayal of Christ  The Betrayal of Christ   mk168 282x180mm Vienna.
42436 The Birth of the virgin  The Birth of the virgin   mk168 297x210mm
42345 The Birth of Venus Urania  The Birth of Venus Urania   mk168 254x195mm
42378 The Castle at Trent  The Castle at Trent   mk168 Pen and ink with watercolor on paper 196x250mm
42223 The Cathedral of Aix-la-chapelle  The Cathedral of Aix-la-chapelle   mk168 126x177mm London The British Museum
42227 The Choir of the Great Church inbergen op zoom near the upper border  The Choir of the Great Church inbergen op zoom near the upper border   mk168 132x182mm
42232 The Church of St.John  The Church of St.John   mk168 Watercolor and tempera on paper 290x423mm
42226 The City hall of Alx-la-Chapelle  The City hall of Alx-la-Chapelle   mk168 127x189mm Musee Conde
42324 The Coat of Arms of Death  The Coat of Arms of Death   mk168 220x159mm
42370 The Courtyard of the Former Castle in innsbruck  The Courtyard of the Former Castle in innsbruck   mk168 368x270mm Watercolor on paper
42371 The Courtyard of the Former Castle in Innsbruck  The Courtyard of the Former Castle in Innsbruck   mk168 Watercolor on paper 335x267mm
42235 The covered Footbridge at the haller Gate in Nuremberg  The covered Footbridge at the haller Gate in Nuremberg   mk168 Pen and ink on paper with touches of watercolor 160x323mm
42256 The Crab fool  The Crab fool   mk168 1494
42258 The Crow Fool  The Crow Fool   mk168 1494
42447 The Crowning with Thorns  The Crowning with Thorns   mk168 1512 Engraving 118x74mm
42451 The Crucifixion  The Crucifixion   mk168 1507 115x71mm
42355 The Death of Orpheus  The Death of Orpheus   mk168 288x225mm
42356 The Death of Orpheus  The Death of Orpheus   mk168 145x216mm
42438 The Death of the Virgin  The Death of the Virgin   mk168 293x206mm Woodcut
63569 The Deformed Landser Sow  The Deformed Landser Sow   1496 Engraving, 121 x 126 mm Staatliche Kunsthalle, Karlsruhe A deformed pig is standing on a rise above a river landscape. Its body is divided towards the back. Two front legs are sticking up out of its back. The Engraving was preceded by a leaflet by Sebastian Brant, which spread the news of the birth of a two bodied, eight legged, four eared and two tongued pig in Landser. Deformed animals such as these were interpreted as divine signs by the population, referring to the end of the world which was expected to take place in about 1500. In the course of the impending Turkish invasion, the leaflet and Engraving have also been interpreted as heralding the imminent supremacy of the heathens over the Christians, or more generally the rule of the Antichrist.Artist:D?RER, Albrecht Title: The Deformed Landser Sow Painted in 1501-1550 , German - - graphics : other
42295 The Deposition of Christ  The Deposition of Christ   mk168 205x290mm Pen and ink on paper
42452 The Descent from the Cross  The Descent from the Cross   mk168 1507 115x71mm
42322 The Dream of the idler  The Dream of the idler   mk168 188x119mm
63734 The Dresden Altarpiece  The Dresden Altarpiece   1496 Oil on canvas, 117 x 96,5 cm (central panel), 114 x 45 cm (each wing) Gem?ldegalerie, Dresden The altarpiece was commissioned by Frederick the Wise for the church of the Wittenberg Castle. The altarpiece was in the Kunstkammer in Dresden as early as 1687 which explains its name. The central panel depicts Mary adoring the Child, while the side wings represent St Anthony and St Sebastian. The central panel, displayed with the side panels in the Gem?ldegalerie, has also been attributed to D?rer in the past. However, this attribution was rejected in 1991 on solid grounds and it was attributed to a Dutch painter of the name Jan, who worked in Frederick's court.Artist:D?RER, Albrecht Title: The Dresden Altarpiece Painted in 1501-1550 , German - - painting : religious
63735 The Dresden Altarpiece  The Dresden Altarpiece   1496 Oil on canvas, 117 x 96,5 cm Gem?ldegalerie, Dresden The attribution of the central panel to D?rer, displayed with the side panels in the Gem?ldegalerie, was rejected in 1991 on solid grounds and it was attributed to a Dutch painter of the name Jan, who worked in Frederick's court.Artist:D?RER, Albrecht Title: The Dresden Altarpiece (central panel) Painted in 1501-1550 , German - - painting : religious
58701 The earliest painted Self-Portrait (1493) by Albrecht Durer  The earliest painted Self-Portrait (1493) by Albrecht Durer   The earliest painted Self-Portrait (1493) by Albrecht D??rer, oil, originally on vellum Louvre, Paris
42285 The Feast of the rose Garlands the virgen,the Infant Christ and St.Dominic distribut rose garlands  The Feast of the rose Garlands the virgen,the Infant Christ and St.Dominic distribut rose garlands   mk168 162x194cm Oil on poplar wood
42446 The Flagellation of Christ  The Flagellation of Christ   mk168 1512 118x74mm
42440 The Flight into Egypt  The Flight into Egypt   mk168 woodcut 298x210mm
84285 The Flight into Egypt  The Flight into Egypt   Date ca. 1496(1496) Medium Oil on pine panel Dimensions Height: 63 cm (24.8 in). Width: 45.5 cm (17.9 in). cjr
42646 The four apostles  The four apostles   MK169 1526 Panel both 216x76.2cm Alte Pinakothek, Munchen
53759 The four apostles  The four apostles   mk234 1523-26 215x75cm
40340 The Four Holy Men  The Four Holy Men   mk156 1526 Oil on linderwood panels 215x76cm
52041 The Four Holy Men  The Four Holy Men   1526 Oil on lindenwood, 215 x 76 cm
45876 The four horseman  The four horseman   mk178 1498 woodcuts 39.4x28.1cm
42423 The Four horsemen of the Apocalypse  The Four horsemen of the Apocalypse   mk168 394x281mm
42344 The Four Witches  The Four Witches   mk168 190x131mm
42383 The Great Cannon  The Great Cannon   mk168 227x330mm 1518
28918 The Great Colvary  The Great Colvary   mk65 Pen and brush with heightening in white lead on green Prepared paper 22 13/16x15 3/4in Uffizi,Gallery
63562 The Great Courier  The Great Courier   1495 Engraving, 100 x 113 mm Kupferstichkabinett, Dresden Earlier doubts have given way to the opinion that this is D?rer's first experimental engraving since a drawing was found at Danzig (presently Gdansk in Poland) which apparently served as the model for this subject. This drawing is inscribed by D?rer: This was drawn by Wolfgang Peuer in the year 1484. Nothing else is known about Peuer. He may have been an apprentice or an assistant in the goldsmith's shop of D?rer the Elder or in the workshop of D?rer's teacher, the painter Michael Wolgemut. The watermark of the paper used for the printing of this engraving, "Cardinals's Hat," was used by D?rer infrequently beginning in 1507. It was also used for the posthumous edition of D?rer's book Unterweisung der Messung (Instructions on measurement). The rarity of this print, as well as the watermark, suggests that the remaining impressions (Dresden, Melbourne, Paris aand Vienna) are posthumous.Artist:D?RER, Albrecht Title: The Great Courier Painted in 1501-1550 , German - - graphics : other
42296 The Great Crucifixion  The Great Crucifixion   mk168 320x230mm
44877 The Great Piece of Turf  The Great Piece of Turf   mk176 1503 16x12
42358 The Great Ture  The Great Ture   mk168 410x315mm
42225 The Harbor at Antwerp  The Harbor at Antwerp   mk168 pen and ink on paper 213x283mm
42366 The Head of a stag Killed by an arrow  The Head of a stag Killed by an arrow   mk168 252x392mm
42281 THe Head of christ at age twelve  THe Head of christ at age twelve   mk168 275x211mm
42498 The Head of St.Paul  The Head of St.Paul   mk168 1526 354x288mm
42365 The Head of Stag  The Head of Stag   mk168 228x166mm 1514
42252 The Holy Family  The Holy Family   mk168 pen and ink on paper 204x208mm
42461 The Holy Family  The Holy Family   mk168 160x112mm Temper on vellum
42475 The Holy Family  The Holy Family   mk168 Oil on wood 30.5x38.7cm
42250 The Holy Family in a landscape  The Holy Family in a landscape   mk168 143x115mm
42251 The Holy Family in a landscape  The Holy Family in a landscape   mk168 pen and ink on paper 290x214mm
42437 The Holy Family in egypt  The Holy Family in egypt   mk168 295x210mm Woodcut
42253 The holy family with the dragonfly  The holy family with the dragonfly   mk168 237x186mm
42369 The Holy Family with three rabbits  The Holy Family with three rabbits   mk168 390x280mm
42454 The holy trinity  The holy trinity   mk168 392x284mm 1511
63565 The Ill-Assorted Couple or the Offer of Love  The Ill-Assorted Couple or the Offer of Love   1495 Engraving, 151 x 139 mm Staatliche Museen, Berlin The style of the monogram indicates that it is one of D?rer's earliest engravings. The left-handedness of the subjects may be due to D?rer's use of an earlier model. Although a moralizing theme was read into the episode by some early commentator, D?rer probably intended to do no more than to portray purchased love.Artist:D?RER, Albrecht Title: The Ill-Assorted Couple or the Offer of Love Painted in 1501-1550 , German - - graphics : genre
42460 THe Infant Savior  THe Infant Savior   mk168 118x93mm 1493
63633 The Lamentation  The Lamentation   1522 Silverpoint, 293 x 416 mm Kunsthalle, Bremen The corpse is leaning against the knee of the Magdalen, who is seated on the ground. The Virgin is raising Christ's head and holding his left arm on her lap. St John and Joseph of Arimathea are visible in half length. This is an extremely significant sketch for a painting in the late style, in which form is entirely saturated with expression.Artist:D?RER, Albrecht Title: The Lamentation Painted in 1501-1550 , German - - graphics : religious
42336 The Large Horse  The Large Horse   mk168 167x119mm
52054 The Large Turf  The Large Turf   1503 Watercolor and gouache on paper 41 x 32 cm
42431 The last supper  The last supper   mk168 1510 on the frame of the table woodcut 395x284mm
42453 THe Last supper  THe Last supper   mk168 1523 Woodcut 213x301mm
63658 The Madonna and Child with a Music-making Angel  The Madonna and Child with a Music-making Angel   1519 Pen, 305 x 210 mm Royal Collection, Windsor There are only slight differences in tone, but an impression of richness is achieved by the very economical variation in direction of the areas of linear shading.Artist:D?RER, Albrecht Title: The Madonna and Child with a Music-making Angel Painted in 1501-1550 , German - - graphics : religious
52022 The Madonna of the Carnation  The Madonna of the Carnation   1516 Parchment on pine, 36 x 25 cm
42334 The Madonna with a Carna-tion  The Madonna with a Carna-tion   mk168 1516 Oil on vellum 39x29cm
42497 The Madonna with the Iris imitator of Albrecht Durer  The Madonna with the Iris imitator of Albrecht Durer   mk168 149x117 1508 Oil on canvas
42368 The Madonna with the Monkey  The Madonna with the Monkey   mk168 191x122mm
42455 The Madonna with the pear  The Madonna with the pear   mk168 158x106mm 1511
42488 The Madonna with the pear  The Madonna with the pear   mk168 1526 Oil on wood
42486 The Madonna with the Siskin  The Madonna with the Siskin   mk168 on a small piece of paper on the table in front of the Virgin.
42291 THe Magdalen embracine the cross  THe Magdalen embracine the cross   mk168 Chald drawing on green grounded paper
42441 The Man of Sorrow at the Column  The Man of Sorrow at the Column   mk168 1509 116x75mm
42287 The Manile of the Pope  The Manile of the Pope   mk168 1514 Watercolor on paper 427x288mm
42286 The Mantle of the pope  The Mantle of the pope   mk168 1514 Watercolor on paper 427x288mm
42472 The Martyrdom of the ten thousand  The Martyrdom of the ten thousand   mk168 99x87cm Oil on wood
63751 The Martyrdom of the Ten Thousand  The Martyrdom of the Ten Thousand   1508 Oil on canvas transferred from panel Kunsthistorisches Museum, Vienna The representation of the violence of the torturers and the various positions of their victims, on their knees and lying on the ground, demonstrates the wide knowledge D?rer had acquired about the human form and laws of perspective. A refined psychological sensibility and pictorial mastery characterize almost all the figures of this tragic scene: for example, the almost cinematographic sequence of the people who are made to fall from the cliff in the top left.Artist:D?RER, Albrecht Title: The Martyrdom of the Ten Thousand (detail) Painted in 1501-1550 , German - - painting : religious
88406 The Martyrdom of the Ten Thousand  The Martyrdom of the Ten Thousand   1508(1508) Medium Oil on canvas transferred from panel cjr
88411 The Martyrdom of the Ten Thousand  The Martyrdom of the Ten Thousand   1508(1508) Medium Oil on canvas transferred from panel cjr
42325 The Men-s Bath  The Men-s Bath   mk168 292x282mm
42353 The Muse Calliope an Engraver of Ferrara  The Muse Calliope an Engraver of Ferrara   mk168 201x141mm
42328 The Mystical Betrothal of St.Catherine of Alexandria  The Mystical Betrothal of St.Catherine of Alexandria   mk168 234x201mm
33512 The Nativity  The Nativity   mk86 c.1502-1504 Tempera on wood 155x126cm Munich,Bayerische Staatsgemalde-sammlungen,Alte Pinakothek
21359 The Nativity (mk08)  The Nativity (mk08)   c.1502-1504 Tempera on wood 155x126cm Munich,Bayerische-Staatsgemalde-sammlungen,Alte Pinakothek
42411 The Negress Katharina  The Negress Katharina   mk168 200x140mm
63586 The Negress Katherina  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
42410 The Painter Lucas Van Leyden  The Painter Lucas Van Leyden   mk168 244x171mm
1052 The Painter's Father_l  The Painter's Father_l   1497 The National Gallery, London
63612 The Peasant and His Wife at the Market  The Peasant and His Wife at the Market   116 x 73 mm Metropolitan Museum of Art, New York Like almost all engravings after 1514, it is devoid of any landscape in the background. Everything, even the chickens, is shown with an intensity.Artist:D?RER, Albrecht Title: The Peasant and His Wife at the Market Painted in 1501-1550 , German - - graphics : genre
63568 The Penance of St John Chrysostom  The Penance of St John Chrysostom   1496 Engraving, 180 x 119 mm Metropolitan Museum of Art, New York St John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called "golden-mouthed" (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor's daughter, having lost her way one day, sought refuge in his cave. Upon her insistence he admitted her and they sinned. As penance he vowed to walk on all fours until forgiven. Years later the Empress gave birth to another child who refused baptism except from St John Chrysostom. Everyone despaired of finding him, when some hunters brought a strange wild animal to the festivities. The child, seeing the animal, said, "You are forgiven." St John stood up and shed his long moss-covered hair, and the Pope recognized him. The courtiers searched the desert and found the Emperor's daughter, who had also survived the ordeal in the wilderness. Mrs. Heaton, D?rer's first biographer in English, describes the scene very poignantly: "The princess is quite naked and more graceful in form and more beautiful of face than most of D?rer's female figures. There is a certain tenderness about her that makes us think that perhaps D?rer's sympathies were not entirely with the repentant saint who is seen in the background." The composition was perhaps suggested to D?rer by Jacopo de Barbari's engraving Cleopatra (or vice versa). Raphael must certainly have known this engraving since he borrowed the landscape and the castle, which appear the same in the Oxford drawing for Raphael's Pasadena Madonna and Child. D?rer's figures, however, were of no interest to Raphael.
42382 The Penance of St.Jerome  The Penance of St.Jerome   mk168 Oil on pear wood
42375 The Penance of St.John Chrysostom  The Penance of St.John Chrysostom   mk168 181x117mm
63570 The Prodigal Son  The Prodigal Son   261 x 202 mm Staatliche Kunsthalle, Karlsruhe In the Engraving of The Prodigal Son, D?rer deviated considerably from earlier depictions of the theme. Here, the scene is placed in the midst of a Franconian farm and shows the prodigal son at the moment of his repentance, kneeling in prayer on a pile of manure in the foreground amongst the swine. The naturalism of the picture was widely admired and contributed to the fame of the engraving.Artist:D?RER, Albrecht Title: The Prodigal Son Painted in 1501-1550 , German - - graphics : religious
42316 The Prodigal Son Amid the Swine  The Prodigal Son Amid the Swine   mk168 248x190mm
42317 The Prodigal Son Amid The Swine  The Prodigal Son Amid The Swine   mk168 248x190mm
63639 The Prodigal Son among the Swine  The Prodigal Son among the Swine   1497-98 Pen, 217 x 219 mm British Museum, London The sheet, which is cut at top and bottom, is a preliminary drawing for the (also undated) copperplate engraving, which may be assigned to 1497-98. In the engraving the houses were brought lower, the figures were brought closer together, and the best pig (the one with its feet in the trough) was omitted. The praying swineherd, whose bodily articulation is not easily discernible even in the drawing (the springing of the left leg!) became more unclear in the engraving. Such cases are important for the proper evaluation of the more mature master's efforts for complete clarity of representation.Artist:D?RER, Albrecht Title: The Prodigal Son among the Swine Painted in 1501-1550 , German - - graphics : religious
42337 The Samll Horse  The Samll Horse   mk168 164x109mm
42348 The Sea Monster  The Sea Monster   mk168 246x187mm
52013 The Seven Sorrows of the Virgin  The Seven Sorrows of the Virgin   c. 1496 Oil on panel, 109 x 43 cm
63736 The Seven Sorrows of the Virgin: The Flight into Egypt  The Seven Sorrows of the Virgin: The Flight into Egypt   1496 Oil on pine panel, 63 x 45,5 cm Gem?ldegalerie, Dresden The Flight into Egypt is one of seven scenes from the Life of Christ which originally surrounded the large central panel of the Mother of Sorrows. In the Gospel of St Matthew (Matt. 2, 13-14), the event is mentioned briefly, though narrated in more detail in the Apocrypha. King Herod ordered that all newborn sons should be killed once he had found out that a future king would be born in Judea. An angel conveys to Joseph God's message to leave the town. Thus the Holy Family fled to Egypt. The group of figures, with Mary riding and holding the Christ Child and Joseph leading the ass, is arranged parallel to the picture in the foreground, an arrangement which is repeated in the later woodcut in the Life of the Virgin. In the foreground the path is stony, and in the background a rocky landscape is visible. The rock is a sign of a safe place of refuge, but can also be interpreted as a mariological and christological symbol: "The stone which the builders rejected, the same is become the head of the corner" (Matt. 21, 42). Both the composition and method of painting still owe much to the Late Medieval workshop tradition.Artist:D?RER, Albrecht Title: The Seven Sorrows of the Virgin: The Flight into Egypt Painted in 1501-1550 , German - - painting : religious
42335 The Small Horse  The Small Horse   mk168 164x109mm
63677 The Stork  The Stork   1515 Pen drawing Mus?e d'Ixelles, BrusselsArtist:D?RER, Albrecht Title: The Stork Painted in 1501-1550 , German - - graphics : study
42305 The Sudarium Held By An Angel on a small Cartellino  The Sudarium Held By An Angel on a small Cartellino   mk168 185x134mm
42357 The Suicide of Lucretia  The Suicide of Lucretia   mk168 168x75cm
52017 The Suicide of Lucrezia  The Suicide of Lucrezia   1518 Oil on lime panel, 168 x 74,8 cm
63577 The Temptation of the Idler; or The Dream of the Doctor  The Temptation of the Idler; or The Dream of the Doctor   1498 Engraving, 188 x 119 mm Metropolitan Museum of Art, New York It has been observed by every commentator on D?rer's genius that in his work is found the blending .of two great traditions the medieval, culminating in the Gothic, and the revered Classical, rediscovered and nurtured by the Renaissance, especially in Italy. Erwin Panofsky feels that The Dream, sometimes called The Dream of the Doctor, should be titled The Temptation of the Idler, for here is pictured a slothful, self indulgent individual who sleeps in front of his heated fireplace, comfortably resting his head against a soft pillow. According to medieval codes of conduct such behaviour encouraged temptation, which is represented by the Devil, a demon who "blows" thoughts, presumably evil, into the sleeper's ear. Probably the dream itself is represented by the nude Venus, voluptuous and inviting. She is accompanied, no doubt to identify her, by a playful Eros. The model for the female form may well have been taken from the languorous women of the Italian Jacopo de' Barbari, whose engravings D?rer admired, or from other works by Italian masters which he knew. Young D?rer was trained as an apprentice in his father's goldsmith shop. There he learned the use of the graver or burin for incising designs and images into metal. Practically all of the great masters of the engraved print had similar early training. D?rer's mastery of his tools is evident in this print. Note the clean, sure flicks of the graver, suggesting modeling and volume. In the upper background, minute crosshatching is employed to project the sleeping figure forward from the rear plane. D?rer's training as a goldsmith also prepared him to render the hardware of the furniture, the texture of the tiles, and the graining of wood.Artist:D?RER, Albrecht Title: The Temptation of the Idler; or The Dream of the Doctor Painted in 1501-1550 , German - - graphics : other
42255 The Theater of Terence  The Theater of Terence   mk168 93x147mm
63649 The Virgin among a Multitude of Animals  The Virgin among a Multitude of Animals   1503 Pen and ink and watercolour on paper, 321 x 243 mm Graphische Sammlung Albertina, Vienna The Virgin holds the Christ child, who ignores the natural wonders around him and points towards Joseph. The small figure of Joseph stands near the house and he appears to be conversing with a stork. A closer examination reveals that many incidents from the story of the Nativity are being told. An angel swoops down from the sky to give news of Christ's arrival to shepherds tending their flocks on the hillside. On the left side of the picture, the ships of the three Kings have arrived and the Magi are setting off with their retinues. This charming picture is distinguished from countless depictions of the Nativity by the wonders of nature which D?rer has included. The parrot, perched on the pole by the Virgin's side, was the prophet which announced her arrival. D?rer drew this bird from an earlier study. The artist loved parrots and he later acquired several live specimens on his trip to the Netherlands in 1521. Just beneath the parrot in the watercolour is a green woodpecker, ready to hammer out a song of praise. In the bottom left corner a large stag beetle teases the Virgin's faithful but sleepy dog and a butterfly has gently alighted on its back. All the creatures have a meaning. The chained fox is a symbol of evil. The two owls around the tree stump represent the forces of darkness, but Christ's appearance has deprived them of their power. In the bottom right corner is a crab, like the one which D?rer painted on his first visit to Venice. Among other creatures are a snail, a dragonfly, a pair of swans, a robin, a moth and a water wagtail. D?rer has delicately added colour wash to his pen and ink drawing, blue for the sky and water, a range of greens for the landscape and traces of red for the flowers. The resulting work is extremely delicate, portraying the Virgin and Child with great tenderness and a touch of humour. Two other versions of this picture exist and the composition may well have been intended as a study for a proposed engraving.Artist:D?RER, Albrecht Title: The Virgin among a Multitude of Animals Painted in 1501-1550 , German - - graphics : religious
42485 The Virgin and child at a window  The Virgin and child at a window   mk168 52x41cm Oil on linden wood
41315 The Virgin and child with St.Anne  The Virgin and child with St.Anne   mk161 Tempera and oil on canvas transferred from wood 23x19
42462 The Virgin as Mater Dolorosa  The Virgin as Mater Dolorosa   mk168 109x43cm Oil on coniferous wood
42276 The Virgin before an archway  The Virgin before an archway   mk168 Oil on wood 48x36cm
42456 The Virgin by the Wall  The Virgin by the Wall   mk168 1514 147x102mm
42479 The Virgin in Prayer  The Virgin in Prayer   mk168 Oil on linden wood 1518
52021 The Virgin Mary in Prayer  The Virgin Mary in Prayer   1518 Oil on lindenwood, 53 x 43 cm
63648 The Virgin Nursing the Child  The Virgin Nursing the Child   1512 Charcoal, 418 x 288 mm Graphische Sammlung Albertina, Vienna (The sheet is drastically cut at the right and the bottom.) This can scarcely be considered as a preliminary study for a painting; on the contrary, it is an independent drawing par excellence, with a great deal of curly and distinct linear movement. It is clear from this how incompletely the tortured motif of the 1512 painting of the Virgin (Vienna) reveals the artist's general frame of mind in this period.Artist:D?RER, Albrecht Title: The Virgin Nursing the Child Painted in 1501-1550 , German - - graphics : study
42308 The Virgin Nursing the Child near the bottom,on a stone  The Virgin Nursing the Child near the bottom,on a stone   mk168 1503 113x70mm
42246 The Virgin on a grassy bench  The Virgin on a grassy bench   mk168 engraving 122x84mm
42484 The Virgin suckling the Child  The Virgin suckling the Child   mk168 24x18cm Oil on linden wood
42364 The Virgin with a Multitude of Animals  The Virgin with a Multitude of Animals   mk168 321x243mm Pen and ink on paper with watercolor
42487 THe Virgin with the Child holding half a pear  THe Virgin with the Child holding half a pear   mk168 49x37cm 1512 Oil on linden wood
63564 The Virgin with the Dragonfly  The Virgin with the Dragonfly   1495 Engraving, 240 x 186 mm Staatliche Museen, Berlin The first of D?rer's engravings bearing a monogram and the only one with this archaic version of it. The dragonfly has been variously identified as a grasshopper, a praying mantis and a butterfly. The composition is still primitive, although the severely foreshortened head of St Joseph - asleep and old to stress the notion of Mary's virginity - is in marked contrast to earlier still extant drawings by D?rer of this subject. The sheet is a direct successor to Martin Schongauer's work.Artist:D?RER, Albrecht Title: The Virgin with the Dragonfly Painted in 1501-1550 , German - - graphics : religious
42464 The Virgin with the Sleeping clild between Sts.Anthony  The Virgin with the Sleeping clild between Sts.Anthony   mk168 191x96.5cm
63628 The Virgin with Two Angels and Four Saints  The Virgin with Two Angels and Four Saints   1521 Pen, 252 x 387 mm Mus?e Cond? Chantilly The four saints are St Catherine, St John the Evangelist, St James the Great and St Joseph. This drawing, which is cut at the top, is to be considered as a study for a large painting. It is an example of the new freedom of arrangement on an architectural basis.Artist:D?RER, Albrecht Title: The Virgin with Two Angels and Four Saints Painted in 1501-1550 , German - - graphics : study
42424 The Vision of the Seven Candleticks  The Vision of the Seven Candleticks   mk168 395x284mm
42434 The Visitation  The Visitation   mk168 300x211mm
42233 The Willow mills on the pegnitz  The Willow mills on the pegnitz   mk168 watercolor and tempera on paper 251x367cm
1058 The Wire-drawing Mill  The Wire-drawing Mill   1489 Kupferstichkabinett, Berlin
42234 The Wire-Drawing Mill on the pegnita  The Wire-Drawing Mill on the pegnita   mk168 Silverpoint on prepared paper 151x228mm
63679 The Women's Bath  The Women's Bath   1496 Pen, 231 x 226 mm Kunsthalle, Bremen Weak in its perspective and not yet quite clear in its representation of forms, this drawing nevertheless possesses significant qualities: a strong feeling for corporeality and for rich configuration. Form is suggested by light, jumping strokes of the pen, with the vagueness typical of the early period. A painterly effect is sought in the darkness of the wall and ceiling, in which the grain of the wood is disproportionately emphasized, as in the art of the primitives.Artist:D?RER, Albrecht Title: The Women's Bath Painted in 1501-1550 , German - - graphics : study
42329 Three Mighty Ladies From Livonia  Three Mighty Ladies From Livonia   mk168 1521 Pen and ink with watercolor
42275 Three Orientals  Three Orientals   mk168 Pen and ink on paper,and watercolor 300x208mm
42310 Three Peasants in conver-sation  Three Peasants in conver-sation   mk168 107x76mm
63571 Three Peasants in Conversation  Three Peasants in Conversation   1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre
42379 Trent Seen From the North  Trent Seen From the North   mk168 198x257mm Watercolor and body color on paper
83816 Trommler und Pfeifer  Trommler und Pfeifer   1504(1504) Medium Oil on panel Dimensions 94 x 51.2 cm (37 x 20.2 in) cyf
79826 Trommler und Pfeifer.  Trommler und Pfeifer.   ca. 1504(1504) Oil on panel 94 x 51.2 cm (37 x 20.2 in) cjr
33510 Two Apostles  Two Apostles   mk86 1526 Oil on wood 215.5x76 Munich,Bayerische Staats-gamaldesammlungen,Alte Pinakothek
33511 Two Apostles  Two Apostles   mk86 1526 Oil on wood 214.5x76cm Munich,Bayerische Staats-gamaldesammlungen,Alte Pinakothek
52016 Two Musicians  Two Musicians   c. 1504 Oil on panel, 94 x 51 cm
42307 Two Venetian Ladies  Two Venetian Ladies   mk168 290x173mm
42408 Ulrich Stark  Ulrich Stark   mk168 407x297mm
42415 Ulrich Varnbuhler  Ulrich Varnbuhler   mk168 437x326mm
42373 Valley near Kalchreuth  Valley near Kalchreuth   mk168 106x316mm
42273 View of Heroldsberg  View of Heroldsberg   mk168 Pen and ink on paper 211x263mm
63732 Virgin and Child before an Archway  Virgin and Child before an Archway   1495 Oil on panel, 48 x 36 cm Magnani Collection, Mamiano near Parma Mary and the Christ Child sitting in her lap appear to be right in the foreground of a space which opens to one side onto a bordering interior courtyard. The baby reaches for his mother's hand and their eyes meet. While the Madonna still owes much to the Late Gothic German type, the Christ Child is reminiscent of Italian models. Half length figures such as this early picture of the Madonna were widespread in Italy and the Netherlands. The depiction of the space with the view to the side through an arch is reminiscent of Flemish models, but the figural conception and monumental triangular composition of the group of figures also relates to Italy, in particular to the Madonna paintings by Giovanni Bellini. The picture dates either from D?rer's visit to Venice in 1494-5 or soon afterwards in Nuremberg. It was discovered in the 1950s in the Capuchin monastery of Bagnacavallo, near Ravenna, and this suggests that it was painted in Italy where it has remained.Artist:D?RER, Albrecht Title: Virgin and Child before an Archway Painted in 1501-1550 , German - - painting : religious
1053 Virgin Child before an Archway  Virgin Child before an Archway   Fondazione Magnani-Rocca, Parma
42457 Virgin with the Swaddled  Virgin with the Swaddled   mk168 1520 142x95mm
42495 Vision of a Cloudburst  Vision of a Cloudburst   mk168 300x425mm 1822
63606 Walrus  Walrus   1521 Pen drawing with watercolours, 206 x 315 mm British Museum, London Throughout his life, D?rer was interested in oddities of nature. The walrus has pushed the front half of his body into the picture and is looking at the observer with his peculiarly glassy gaze; this has led to the suggestion that D?rer created the study from a chopped off walrus head or stuffed animal, and completed the rest from his imagination. The study was to be used as a detail in the altar painting of an enthroned Madonna and Child surrounded by eight saints and angels playing instruments, but this work was never produced. At the top left D?rer wrote: "Das dozig thyr van dem ich do das hawbt conterfett hab, ist gefange worden in der niderlendischen see und was XII ellen brawendisch mit f?r f?ssen" (The animal which I have drawn this picture of was captured in the Dutch Sea and was twelve cubits in size with four feet).Artist:D?RER, Albrecht Title: Walrus Painted in 1501-1550 , German - - graphics : other
63624 Willibald Pirckheimer  Willibald Pirckheimer   1524 Engraving, 181 x 115 mm Metropolitan Museum of Art, New York The celebrated humanist Willibald Pirckheimer, counselor to the Emperor, friend of Erasmus of Rotterdam, member of the Nuremberg city council, translator of Greek and Latin classics, commander of the Nuremberg contingent of troops in the Swiss War, was Albrecht D?rer's closest friend and mentor. Suffering from severe gout, Pirckheimer had retired from the city council shortly before D?rer engraved this portrait. The copper plate portrait is an example of the new portraits he created using printed graphics. The bust is placed, like a monument, above an inscription that reads like an epitaph. It refers to the contributions and character of Pirckheimer, and the inscription beneath the portrait reads: "Image of Willibald Pirckheimer at age 53. Man lives through his intellect; all else will belong to death. 1524" (based on Livy III, 36). In this likeness, too, D?rer could not resist the temptation to show the reflection of windows in the eyes. The magnificent bulldog head of D?rer's best friend is not so much embellished as transfigured. Mass is converted into energy, and the heavy features of the learned irascible giant appear illumined, as it were, by the enormous eyes which flare from their sockets like powerful searchlights. This engraving was used as a bookplate by Pirckheimer. Many volumes containing it, formerly in the possession of the Royal Society, were sold at auction in London in 1925. Until 1945 there was an impression on white satin, probably posthumous, at Bremen.Artist:D?RER, Albrecht Title: Willibald Pirckheimer Painted in 1501-1550 , German - - graphics : portrait
63655 Willibald Pirckheimer  Willibald Pirckheimer   1503 Charcoal drawing, 282 x 208 mm Staatliche Museen, Berlin In the portrait drawing of Willibald Pirckheimer, seen in profile looking to the left, D?rer was making use of a silver point drawing and "refined his friend's features without flattering him," as Panofsky stated. The famous humanist was a close friend and intimate of D?rer's. It is possible that D?rer was stimulated to produce this profile portrait by ancient imperial coins, though it is also possible that the drawing was used as a pattern by a medal maker.Artist:D?RER, Albrecht Title: Willibald Pirckheimer Painted in 1501-1550 , German - - graphics : portrait
42362 Wing of a Blue Roller  Wing of a Blue Roller   mk168 1512 197x200mm
1059 Wing of a Roller  Wing of a Roller   1512 Graphische Sammlung, Albertina, Vienna
63636 Winged Man  Winged Man   in Idealistic Clothing, Playing a Lute 1497 Silverpoint on dark paper, with white highlights, 268 x 195 mm Staatliche Museen, Berlin The statuesque model was also available to the artist during his work on The Apocalypse. In that series the head recurs not only in the destroying angels, but also in the apocalyptic horsemen and the angels that calm the winds.Artist:D?RER, Albrecht Title: Winged Man, in Idealistic Clothing, Playing a Lute Painted in 1501-1550 , German - - graphics : study
42330 Woman in Netherlandish artist  Woman in Netherlandish artist   mk168 1521 283x195mm
42395 WQild man with the Coat of arms of oswolt krel  WQild man with the Coat of arms of oswolt krel   mk168 49x16cm Oil on linden wood
42326 Young Couple  Young Couple   mk168 Pen and ink on paper 257x191mm
63576 Young Couple Threatened by Death  Young Couple Threatened by Death   1498 Engraving, 196 x 121 mm Staatliche Kunsthalle, Karlsruhe The Engraving showing a strolling couple is one of the genre pictures which D?rer created in the tradition of the Master of the Housebook and Martin Schongauer. As the gallant gazes at his companion adoringly, he points ahead to the path. The ostrich feather he is wearing in his hat is a sign of his bachelor status. The fantastic costume worn by the woman combines elements from both Nuremberg and Venetian fashion. Behind the tree, unnoticed by the lovers, Death is holding up an hourglass. The picture can be interpreted as a moralizing metaphor for the transitoriness of love and sensuality. The figure of death does not necessarily indicate a warning to lovers, as this was not customary in the fifteenth century. Death was, however, frequently pictured as a reminder that life on earth should not be solely devoted to pleasure and luxury. The cap worn by the man is a precursor of the berets which became popular in the sixteenth century. He has also already discarded the pointed shoes of the type still worn by his companion. The tall grass-like plant in the foreground may be allegorical, related to the quotation from Isaiah in the Basle Dance of Death that "all flesh is like hay and grass; grass dries up and flowers wilt. "Artist:D?RER, Albrecht Title: Young Couple Threatened by Death; or, the Promenade Painted in 1501-1550 , German - - graphics : mythological
58703 Young Hare  Young Hare   Young Hare, 1502, Watercolour and bodycolour (Albertina).
42391 Young Man as St.Sebastian  Young Man as St.Sebastian   mk168 52x40cm Oil on wood
42407 Young man with a cap  Young man with a cap   mk168 298x215mm
63563 Young Woman Attacked by Death  Young Woman Attacked by Death   1494 Engraving, 114 x 102 mm Staatliche Kunsthalle, Karlsruhe In the middle of the picture, on a turf bench, a wild wood gnome is attacking a young woman who defends herself angrily. While the lean, bony man is reminiscent of depictions of Death, the dead tree to the left of the turf bench is a symbol of vice and fated undoing. The original intention was to include a commentary, as is shown by the empty inscription cartouche above the scene. The most obvious interpretation is that made by Panofsky, who considered the small genre picture to be an allegory of death. This engraving is today generally accepted as being by D?rer, although it is reminiscent of the Housebook master in several respects. The thistle-like plant in the background, eryngium (sea holly), occurs in several of D?rer's early works. Its reputedly aphrodisiac qualities were, according to Pliny, known already to the ancient Greeks, and apparently fascinated the young D?rer. Perhaps the print is related to a Nuremberg news item of the year 1489, when a man was hanged for a number of attacks on women.Artist:D?RER, Albrecht Title: Young Woman Attacked by Death; or, The Ravisher Painted in 1501-1550 , German - - graphics : mythological
42496 Young Woman in Prayer with Loose Hair  Young Woman in Prayer with Loose Hair   mk168 1497 Oil on canvas 56x43cm
42398 Young Woman with a Red Beret  Young Woman with a Red Beret   mk168 1507 Oil n vellum 30.4x20cm
42397 Young Woman with Bound Hair  Young Woman with Bound Hair   mk168 55x42cm Oil on canvas
42248 Youth kneeling beffore the judge  Youth kneeling beffore the judge   mk168 Pen and ink on paper 252x189mm
42639 Zelfportret  Zelfportret   MK169 1500 Panel 67x49cm Alte Pinakothek, Munchen
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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