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Portrait of an Unknown Man
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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
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Lamentation over Christ
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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
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Portrait of Ulrich
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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
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Deposition
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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
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The Lamentation
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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
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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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