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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 ...
[3] [6] Both believe Dürer produced the drawing as a study for his 1506 watercolor, The Virgin with a Multitude of Animals. [6] Fritz Koreny, a former curator at the Albertina and a current researcher at the Institute for Art History at the University of Vienna, attributes the drawing to Hans Baldung. [1] Baldung was a student of Dürer.
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.
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
St. Jerome in His Study is an oil on panel painting by the German Renaissance artist Albrecht Dürer, completed March 1521. It is now in the Museu Nacional de Arte Antiga of Lisbon, Portugal. Preparatory drawing.
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.
Young Hare (German: Feldhase) is a 1502 watercolour and bodycolour painting by German artist Albrecht Dürer.Painted in 1502 in his workshop, it is acknowledged as a masterpiece of observational art alongside his Great Piece of Turf from the following year.
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."