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Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht
Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht

This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background that bears some touches of blue. The light enters from the left, bringing out the features of the face and hands and projecting the sitter’s shadow onto the background at the right, where the date and th

Adam
Oil on panel. 1507
Dürer, Albrecht
Adam
Oil on panel. 1507
Dürer, Albrecht

Dürer made this panel and its companion, Eve (P02178) upon returning from his second trip to Italy in 1505. Both works constitute an effort to synthesize what he had learned there, in search of a balance between Italian and Germanic approaches that would permit the ideal perfection of the human body. Thus, the choice of a biblical subject here is mere pretext. Dürer´s knowledge of the cl

Jorg Zörer’s Wife (?)
Oil on panel. 1531
Amberger, Christoph
Jorg Zörer’s Wife (?)
Oil on panel. 1531
Amberger, Christoph

This bust portrait is a companion to that of the sitter´s husband (P02183). Shown at somewhat less than half- length, she wears a white, Nordic-style cap and a severely cut dress, and holds a white carnation in her right hand. According to an inscription in the upper part of the work she is twenty-eight. By placing her over a background that simulates a wooden surface, Amberger achieves an e

Self-portrait
Oil on panel. 1498
Dürer, Albrecht
Self-portrait
Oil on panel. 1498
Dürer, Albrecht

In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet with a striped cap in the same colours, an undershirt trimmed with gold and a silk cord of blue and white threads holding up a grey-brown cloak that falls over his right shoulder. Dürer has shea

Eve
Oil on panel. 1507
Dürer, Albrecht
Eve
Oil on panel. 1507
Dürer, Albrecht

Like the painting of Adam (P02177), represented on a separate panel, Eve´s unstable posture, her rhythmical movements and her affected gestures are sometimes interpreted as a return to earlier models of Gothic art, instead of what they really are, a foretaste of Mannerism. The solidity of the two bodies, Eve´s slightly Gothic curves -the prototype of a Germanic Venus- and Adam´s fascinated express

Hunt at the Castle of Torgau in Honour of Charles V
Oil on panel. 1544
Cranach The Elder, Lucas
Hunt at the Castle of Torgau in Honour of Charles V
Oil on panel. 1544
Cranach The Elder, Lucas

A hunting scene characterized by a very developed landscape castle of Hartenfels in Torgau (Saxony). Among those taking part are the Emperor Charles V and John Frederick the Magnanimous, Elector of Saxony (at the lower left), together with the latters wife, Sibylla of Cleves (on the right, dressed in red). The hunt never actually took place and the painting is in fact an allegory of good governmen

Hunt at the Castle of Torgau in Honour of Ferdinand I
Oil on panel. 1545
Cranach The Elder, Lucas
Hunt at the Castle of Torgau in Honour of Ferdinand I
Oil on panel. 1545
Cranach The Elder, Lucas

Among the hunters depicted here are Ferdinand I, King of the Romans, on the left in the foreground, and the Elector of Saxony in the centre. On the other side of the river and holding a crossbow is the Electors wife Sibylla of Cleves. The episode takes place near the castle of Hartenfels in Torgau (Saxony) where the Elector, a supporter of the Reformation, had the first Lutheran church built. Ferd

The Ages of Woman and Death
Oil on panel. 1541 - 1544
Baldung Grien, Hans
The Ages of Woman and Death
Oil on panel. 1541 - 1544
Baldung Grien, Hans

Death has taken hold of an older woman who is in turn trying to pull along a voluptuous young woman who seems to be resisting. Death holds an hourglass and a broken lance, on the lower tip of which a dead child rests its hand. In the distance behind the dead tree is a desolate landscape with the tower of Hell and devils tormenting people. The only element of hope is the small crucified Christ look

Harmony (The Three Graces?)
Oil on panel. 1541 - 1544
Baldung Grien, Hans
Harmony (The Three Graces?)
Oil on panel. 1541 - 1544
Baldung Grien, Hans

The convincingly modelled figures seem like the fantastical inhabitants of a ghostly forest illuminated by the light of the full moon. One reads a book next to a laurel tree while her companions look meaningfully to the right. Accompanying them are three putti, one with a musical score and swan, a bird associated with music since Antiquity. The stringed instruments represent harmony with nature wh

The Augsburg Goldsmith Jörg Zörer (?)
Oil on panel. 1531
Amberger, Christoph
The Augsburg Goldsmith Jörg Zörer (?)
Oil on panel. 1531
Amberger, Christoph

Portrayed at less than half-length, the sitter wears a large cap and clothing with a fur collar in the northern style. He holds a carnation in his hands, with a signet ring whose coat of arms consists of a crossed ax and scythe. That coat of arms on his ring confirms that he is a member of the Zörer family, but his identification with the goldsmith, Jorg Zörer, is uncertain. The inscript

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