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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
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
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
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
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
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
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
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
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
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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