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Self-Portrait at the age of 13 (the title is modern) is a silverpoint drawing by Albrecht Dürer, dated 1484, when the artist was either twelve or thirteen years of age. It is now in the Albertina museum, Vienna , where it arrived, via the collections of the Imhoff family in Nuremberg and the Habsburg collections, from Dürer's own literary and ...
Pen drawing in Indian ink and watercolor on paper. Head of a Walrus (German: Kopf eines Walrosses) is a 1521 pen drawing painted in watercolour by the German artist Albrecht Dürer, now in the British Museum, London. [1] At the time the walrus' main European population was around Scandinavia, and they were exotic to inland Europeans.
The Life and Art of Albrecht Dürer. Princeton, NJ: Princeton University Press, 1945. ISBN 0-691-00303-3; Price, David Hotchkiss. Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith. Michigan, 2003. ISBN 978-0-4721-1343-9. Strauss, Walter L. (ed.). The Complete Engravings, Etchings and Drypoints of Albrecht Durer.
A preparatory drawing exists in the Albertina of Vienna with an annotation of the man's age (93). The artist donated the painting to the head of the Portuguese trade mission in the Netherlands, Rodrigo Fernandes de Almada. It remained in the latter's family collection until 1880, when it was donated to the current museum.
New York, Metropolitan Museum of Art : 147 Portrait of Jakob Fugger the Wealthy: c. 1520 —p [41] Tempera on canvas (Tüchlein) 69.4 × 53: Augsburg, Staatsgalerie Altdeutsche Meister, Bavarian State Painting Collections : 143 Portrait of Emperor Maximilian I of Habsburg: 1519 — Tempera on canvas: 83 × 65
Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy [1] with St. Augustine in his preference [2] for Greek over Latin nomenclature for the fast-growing plant known in Hebrew as קיקיון (qiyqayown) encountered only this once, in the Book of Jonah.
Melencolia I, Albrecht Dürer, engraving, 1514. The art historian Christa Grössinger described the drawing as the "most affecting of all" of Dürer's portraits. [9] David Price wrote of its "rough depiction of her flesh emaciated by old age", and "existential piety in the cast of Barbara Dürer's right eye, which, almost unnaturally, directs her vision heavenward."
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