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St Bartholomew
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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
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St Simon
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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
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A Young Girl of Cologne
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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
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Lucas van Leyden
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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
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Portrait of Frederick the Wise
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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
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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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