Sverige Alla Albrecht Durers Oljemålningar - Sweden Oil Painting Frame 002

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63574

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

mk168 1522 Drawing in Lead-point

86372

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

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

1499 Oil on panel, 28 x 24 cm

52055

Courtyard of the Former Castle in Innsbruck without Clouds

1494 Watercolour on paper, 335 x 267 mm

42311

Dancing Peasant Couple

mk168 1514 118x75mm

63659

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

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

mk168 1520 Charcoal on paper 373x271mm Pairs

42239

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

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

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

1497(1497) Medium Oil on canvas Dimensions 56 x 43 cm (22 x 16.9 in) cyf

96054

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

1512(1512) Medium Deutsch: Holz Dimensions Deutsch: 49 x 37 cm cyf

89306

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

c. 1494-1497 Medium oil on panel Dimensions 109,2 x 43,3 cm cjr

34372

Die Vier Apostel

mk92 1526 206x76cm Munchen,Bayerische Staatsgemaldesammlung

76310

Dreikonigsaltar

Deutsch: um 1504 English: c. 1504 Medium Oil on panel Dimensions Deutsch: 96 ?? 54 cm cyf

42212

Durer-s Mother Barbara,Nee Holper

mk168 on top in the center,the year 1514

42217

Durer-s wife Agnes

mk168 156x98mm

42448

Ecce Homo

mk168 1512 117x75mm

78620

Ecce Homo

Oil on panel Dimensions Deutsch: 30 x 19 cm cyf

79673

Ecce Homo

Oil on panel Dimensions Deutsch: 30 x 19 cm cyf

42389

Elector Frederick the Wise

mk168 76x57mm

42416

Elector Frederick The Wise

mk168 192x127mm 1524

42390

Elsbeth Tucher

mk168 29x23cm Oil on linden wood

42236

Emperor charlemagne

mk168 215x115.3cm oil on lindenwood

42237

Emperor charlemagne

mk168 Oil on canvas 85x65cm

63740

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

c. 1512 Oil and tempera on panel, 215 x 115 cm

39730

Emperor Maximilian

mk150 1519 74x61.5cm

52028

Emperor Maximilian

1519 Tempera on canvas, 83 x 65 cm

42240

Emperor Maximilian i

mk168 381x319mm

63748

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

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

1519(1519) Medium Oil on linden cyf

52020

Emperor Sigismund

c. 1512 Oil on lindenwood, 187,7 x 87,5 cm

42211

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

mk168 169x117mm London

42341

Equestrian Kninght in Armor

mk168 410x324mm

42241

Erasmus of Rotterdam

mk168 249x193mm

28092

Eva

mk61 1507 Oil on panel 209x80cm

74567

Eva

209 X 83 cm 1507(1507) Oil on panel cjr

76117

Eva

1507(1507) Medium Oil on panel cyf

42372

Exit from a Quarry

mk168 Pen and ink on paper 325x218mm

63726

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

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

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

mk168 Oil on wood 28x24cm

63670

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

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

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)

1526 Oil on wood Munich,Bayerische Staats-gemaldesmmlungen,Alte Pinakothek

42417

Frederick II

mk168 164x117mm Silver-Point on prepared paper

42218

Girl in Cologne Attire and Agnes Durer

mk168 129x190mm Vienna,Albertina

63667

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

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

mk168 28x24cm Oil on wood

55986

hare

1502,watercolor on paper,9.875x9.125 in,25x23 cm,graphische sammlung albertina,vienna,austria

63634

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

mk168 226x193mm Watercolor on paper

42492

Head of a boy facing toward the left

mk168 223x181mm Paris

63685

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

mk168 211x167,mm

42280

Head of an angel

mk168 270x208mm

63640

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

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

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

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

mk168 1526 354x288mm

42474

Head of the Apostle james

mk168 46x38cm Oil on canvas

42473

Head of the Apostle Philip

mk168 Oil on canvas 46x38cm

63653

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

ca. 1504(1504) Oil on panel 20 x 58 cm (7.9 x 22.8 in) cjr

81888

Heiliger Onophrius

. 1504(1504) Medium Oil on panel Dimensions 20 x 58 cm (7.9 x 22.8 in) cyf

52029

Heller Altar

1508-09 Tempera and oil on wood, 189 x 138 cm

63752

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

mk168 323x223mm

42318

Hercules Killing the Molionides

mk168 395x285mm

42352

Hercules Kills the Stymphalic Birds

mk168 85x110cm

42418

Hieronymus Holzschuher

mk168 48x36cm Oil on linden wood

25870

Hieronymus Holzschuher (mk45)

1526 Oil on panel. 48x26cm Berlin,Staatliche Museen zu Beelin-Prubischer Kulturbesitz,Gemaldegalerie

79166

Hiob von seiner Frau verhohnt

ca. 1500-1503 color on linden 96 x 51 cm (37.8 x 20.1 in) cjr

63585

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