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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
On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518". The oil panel was completed when the emperor had already died, with some variants from the initial drawing. The latter is now housed in the Albertina, Vienna.
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 ...
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.
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.
The artist's mix of classical and sixteenth-century Nuremberg motifs and the northern European setting were utilised to bring the images closer to the audience. According to the critic Laurie Meunier Graves, "these prints manage to illuminate the sacred while at the same time providing scenes of homely, Renaissance life.
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."
Man painting a portrait: 337 B. 146 C. D. 150 194 1525 Man drawing a lute: 338 B. 147 C. D. 151 195 1525 Draughtsman drawing a vase: 339 B. 148 C. D. 152 196 1525 Draughtsman Drawing a Recumbent Woman: 340 B. 149 C. D. 153 197 1525 The Holy Family on a Grassy Bench (uncertain authorship) 341 B. 98 C. D. 154 340 1526 Helius Eobanus Hessus