Choice
ID
Image
Painting (From A to Z)
Details
42367
A Duck
mk168
1515
233x127mm
42338
A Grayhound
mk168
145x196mm
42361
A Lobster
mk168
247x429mm
1495
42377
A Mountain hut in Disrepair
mk168
Pen and ink with watercolor on paper
372x262mm
42359
A Nosegay of Violets
mk168
117x104mm
42319
A Nuremberg Lady Dressed to go to a Dance
mk168
325x218mm
42315
A Nuremberg lady Dressed to go to Church
mk168
317x172mm
42314
A Nuremberg Lady in Everyday
mk168
Pen and ink on paper with Water-color
284x130mm
42381
A Pond in the woods
mk168
262x365mm
Watercolor and body Color on paper
42376
A Tree in a Quarry
mk168
296x219mm
42279
A Venetian lady
mk168
28x21cm
Oil on poplar wood
42327
A Woman of Nuremberg and one of venice
mk168
241x160mm
63621
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
42363
A Young Hare
mk168
241x226mm
42278
A Young lady of Venice
mk168
Oil on elmwood
32x25cm
63675
Abduction of a Woman
1495 Pen, 283 x 423 mm Mus?e Bonnat, Bayonne This copy of a (lost) engraving by Antonio Pollaiuolo shows the lunge position in front and back view. The important element for D?rer was not the mere representation of the activity, but the basic Italian method of rendering articulation of the body. D?rer allowed himself freedom in individual details. He was surely not able to borrow from his original the manner in which the modeling lines follow the form, and the contour also has become gnarled in D?rer's fashion. The rear view of the male nude recurs in the engraving "Jealousy.'Artist:D?RER, Albrecht Title: Abduction of a Woman Painted in 1501-1550 , German - - graphics : study
28091
Adam
mk61
1507
Oil on panel
209x81cm
42332
Adam
mk168
Oil on wood
209x81cm
82806
Adam
1507(1507)
Medium Oil on panel
Dimensions Deutsch: 209 x 81 cm
cyf
40299
Adam and Eve
mk156
1507
Oil on panel
42333
Adam and Eve
mk168
252x195mm
58705
Adam and Eve
Adam and Eve, by Albrecht D??rer (1507).
63661
Adam and Eve
1504 Pen drawing with watercolours, 242 x 201 mm The Pierpont Morgan Library, New York D?rer prepared his masterly engraving of Adam and Eve in numerous individual studies. This pen drawing was created immediately before the copper engraving and concentrates entirely on the depiction and three-dimensional structure of the male and female nudes. The body posture of the two figures shown here is already identical down to the last detail with that of the copper engraving.Artist:D?RER, Albrecht Title: Adam and Eve Painted in 1501-1550 , German - - graphics : study
75451
Adam and Eve
1507(1507)
209 X 81 & 209 X 83 cm
cjr
77333
Adam and Eve
Français : tableau
Dimensions 209 ?? 81 & 209 ?? 83 cm
cyf
45409
Adam and Eves
mk186
around 1507
Madrids Museo del Prado
40290
Adoration of the Magi
mk156
1504
Oil on panel
98x112cm
63739
Adoration of the Magi
1504 Oil on wood Galleria degli Uffizi, FlorenceArtist:D?RER, Albrecht Title: Adoration of the Magi (detail) Painted in 1501-1550 , German - - painting : religious
1039
Adoration of the Trinity
1511
Art History Museum, Vienna
42409
Agnes Durer Netherlandish Costume
mk168
407x271mm
42306
Agony in the Garden
mk168
221x156mm
42430
Agony in the Garden
mk168
Woodcut
389x282mm
42442
Agony in the Garden
mk168
1508
118x75mm
42385
Albrech Durer the Elder with Rosary
mk168
47.5x39.5cm
Oil on wood
67617
Albrecht Durer
Title Deutsch: Loths Flucht
Year Deutsch: um 1496
English: c. 1496
Technique Oil on panel
Dimensions Deutsch: 50,2 X 39,7 cm
42284
Albrecht Durer and an unknown companion
mk168
cf.139.
42215
Albrecht Durer the Elder
mk168
Oil on limewood
51x40cm
London
National Gallery
42499
Albrecht Durer-s Four Apostles
mk168
42500
Albrecht Durer-s Four Apostles
mk168
42501
Albrecht Durer-s Four Apostles
mk168
42502
Albrecht Durer-s Four Apostles
mk168
42503
Albrecht Durer-s Four Apostles
mk168
42504
Albrecht Durer-s Four Apostles
mk168
94699
Allegorie des Geizes
1507(1507)
Medium Deutsch: Lindenholz
Dimensions Deutsch: 35 x 29 cm Rahmenmaße: 40 x 36 x 8 cm
cyf
63725
Alliance Coat of Arms
1490 Oil on panel, 47 x 39 cm Galleria degli Uffizi, Florence The picture shows the rear view of the Portrait of Albrecht D?rer the Elder. The painted variant on the alliance coat of arms of the D?rer and Holper families, a so-called speaking coat of arms, is also depicted in a woodcut dating from 1523. It forms the back side of D?rer's first portrait of his father in 1490. The family's coat of arms depicts an open barn door on the left, which was presumably a symbol of the family name. The name means the same as "T?rer," the German translation of "Ajto" (door), their place of origin Ajtos near Gyula, the capital of the B?k?s district.Artist:D?RER, Albrecht Title: Alliance Coat of Arms of the D?rer and Holper Families Painted in 1501-1550 , German - - painting : other
1044
Altarpiece of the Rose Garlands
1506
Narodni Galerie, Prague
80478
Alte mit Geldbeutel
Date 1507
Medium Deutsch: Lindenholz
Dimensions Deutsch: 35 x 29 cm
cjr
84745
Alte mit Geldbeutel
1507
Medium Deutsch: Lindenholz
Dimensions Deutsch: 35 x 29 cm
cyf
52056
Amorous Peasants
Drawing Pinacoteca Ambrosiana
42283
An architect
mk168
386x263mm
42274
An orinetal Ruler Enthroned with traces of the artist-s monogram
mk168
Pen and ink on paper
306x197mm
70227
Anbetung der Konige Detail
Medium Oil on panel
Dimensions 098 X 111 cm
73161
Anbetung der Konige Detail
Date 1504
Medium Oil on panel
Dimensions 98 X 111 cm (38.58 X 43.7 in)
cyf
67724
Anbetung der Konige, Detail
1504
Oil on panel
98 X 111 cm (38.58 X 43.70 in)
71883
Anbetung der Konige, Detail
1504
Oil on panel
98 x 111 cm (38.58 x 43.7 in)
42228
Anne with the virgin and the infant Christ
mk168
1519
oIL
60X50CM
63590
Annunciation
1526 Pen drawing, 288 x 211 mm Mus?e Cond? ChantillyArtist:D?RER, Albrecht Title: Annunciation Painted in 1501-1550 , German - - graphics : study
63610
Antwerp Harbour
1520 Pen drawing, 213 x 283 mm Graphische Sammlung Albertina, Vienna This drawing is from the artist's sketchbook of his trip to the Netherlands. The waterfront is seen from an elevation; the pictorial technique is lively and bold. The reduction in the size of the objects due to perspective, as seen in the ships, generates a vivid feeling of depth, all the more because the right foreground was never elaborated.Artist:D?RER, Albrecht Title: Antwerp Harbour Painted in 1501-1550 , German - - graphics : other
42331
Apollo and Diana
mk168
157x97mm
63581
Apollo and Diana
1502 Engraving, 115 x 70 mm Metropolitan Museum of Art, New York Closely related to the very similar engraving by Jacopo de Barbari. In no other plate, except Adam and Eve is there such delicate modelling of the flesh. The contrast of male and female is emphasized by the introduction of movement. The head of Diana is almost identical to the one in the drawing Woman Riding a Dolphin, dated 1503. The D of the monogram shows a correction.Artist:D?RER, Albrecht Title: Apollo and Diana Painted in 1501-1550 , German - - graphics : mythological
63668
Apollo with the Solar Disc
1504 Pen, 285 x 202 mm British Museum, London The full title: Apollo with the Solar Disc and Diana Trying to Shield Herself from the Rays with Her Uplifted Hand. This variation on the Adam of the 1504 copperplate engraving was also conceived originally as a print, but was not engraved. The Adam of the print is more felicitous because of the contrast supplied by the turning of his head away from his extended free leg. The present drawing is finished to a great extent but not yet fully refined. The celestial background, rich in painterly effect, was added at a later stage. The original purpose was the depiction of the male figure alone, who represented the planetary god Sol. The rendering of the sun's rays is extremely noteworthy. The word "Apolo," written backwards with a view toward the engraving, is probably a substitute for the earlier name Sol; this would explain the conspicuous incongruity of the inscription and the space allotted to it.Artist:D?RER, Albrecht Title: Apollo with the Solar Disc Painted in 1501-1550 , German - - graphics : mythological
75993
Apostel Jakobus
1516(1516)
Oil on canvas
46 ?? 38 cm
cjr
77928
Apostel Jakobus
1516(1516)
Medium Oil on canvas
Dimensions Deutsch: 46 ?? 38 cm
cyf
74471
Apostel Philippus
1516(1516)
Leinwand
46 X 38 cm (18.11 X 14.96 in)
cjr
75893
Apostel Philippus
Date 1516(1516)
Dimensions 46 ?? 38 cm (18.1 ?? 15 in)
cyf
42347
Arion
mk168
142x234mm
57287
Artist self-portrait
mk255 for in 1493. 0.56 x 0.44 meters canvas. Paris, the Louvre
42323
Bath Attendant
mk168
1493
Pen and ink on paper
272x147mm
42384
Bearded Man in a Red cap
mk168
40x30cn
1520
63627
Bearing of the Cross
1512 Engraving, 117 x 74 mm Art Museum, Princeton Sheet No. 10 of the Engraved Passion. St Veronica is shown kneeling in front of Christ. This engraved version cannot compare to the triumphant one of the woodcut. In this instance, Christ is pictured standing, turned toward the women. The rendering of this scene as a nocturne is unprecedented. This print can be called "Schongaueresque" in concept. The guardsman shouting at the people is, in fact, found in Schongauer's version, perhaps based on Passion plays. There is an impression without the hanger of the tablet bearing the monogram at the Museum of Fine Arts in Boston.Artist:D?RER, Albrecht Title: Bearing of the Cross (No. 10) Painted in 1501-1550 , German - - graphics : religious
83228
Betende Maria
1518
Medium Oil on panel
Dimensions Deutsch: 53 x 43 cm
cyf
63584
Betrayal of Christ
1508 Engraving, 118 x 75 mm Metropolitan Museum of Art, New York Sheet No. 3 of the Engraved Passion. St Peter, striking Malchus, seems to take the spotlight away from Christ. The head of Malchus is strongly reminiscent of that in a Schongauer's engraving. The episode in the background, showing a fleeing youth, represents the rarely illustrated passage Mark 14:51-52, perhaps transmitted by Passion plays. The object underneath Malchus is a lantern, which he customarily carries in Passion plays. The emphasis is here shifted from the commotion of the arrest to the tragedy of the betrayal. Physical violence is limited to the duel between St Peter and Malchus. Christ, unconscious of the noose which threatens his neck, bends his head and closes his eyes to receive the kiss, as though Judas and he were alone in the universe. Closely related to the corresponding subject in the Green Passion.Artist:D?RER, Albrecht Title: Betrayal of Christ (No. 3) Painted in 1501-1550 , German - - graphics : religious
75439
Beweinung Christi
c. 1498
Oil on panel
147 X 118 cm
cjr
77324
Beweinung Christi
Deutsch: um 1498
English: c. 1498
Medium Oil on panel
cyf
83392
Bildnis einer jungen Venezianerin
1506(1506)
Medium Poplar wood
Dimensions Height: 28.5 cm (11.2 in). Width: 21.5 cm (8.5 in).
cyf
80003
Bubender Hieronymus
c. 1494-1497
Oiil on wood
23,1 x 17,4 cm
cjr
83928
Bubender Hieronymus
English: c. 1494-1497
cyf
42277
Burkard of Speyer
mk168
Oil on wood
32x27cm
42413
Cardinal Albrecht of Bran-Denburg
mk168
1519
146x96mm
42414
Cardinal Albrecht of Bran-Denburg
mk168
428x323mm
Chalk on paper
42412
Cardinal Albrecht of Bran-Denburg in portrait
mk168
174x120mm
63608
Cardinal Albrecht of Brandenburg
The Small Cardinal 1519 Engraving, 148 x 97 mm Staatliche Kunsthalle, Karlsruhe This engraving is one of six copper plate portraits of Cardinal Albrecht of Brandenburg, one of the most influential representatives of the empire. This portrait is based on a preparatory drawing which presumably dates from the time of D?rer's stay at Augsburg during the Imperial Diet of 1518. In a letter to Georg Spalatin, an adviser of Frederick the Wise, D?rer reports the circumstances: "I am enclosing three prints of an engraving for my gracious lord. It was engraved upon the request of my gracious lord of Mainz. I sent the copper plate to him together with two hundred impressions as a present. He then sent me most kindly two hundred gold guilders in return and twenty ells of damask for a coat." The plate was used subsequently to illustrate the book Das Heiligtum zu Sachsen, Halle, 1524. The portrayed man is placed before a screen. His erect posture, diagonal line of sight out of the picture, the coat of arms and the two inscriptions all emphasize the official nature of the portrait. The inscription above the portrait reads: "Albrecht by Divine Mercy Presbyter Cardinal of the Holy Roman Church, Titular of St. Chrysogonus, Archbishop of Mainz and Magdeburg, Primate Elector of the Empire, Administrator of Halberstadt, Margrave of Brandenburg." The legend on the bottom states: "Thus were his eyes, his cheeks, his features at the age of 29." Cardinal Albrecht of Brandenburg was born on June 28, 1490. He became Archbishop of Magdeburg in 1513, Archbishop of Mainz in 1514 and Cardinal in 1518. In 1514 Jacob Fugger of the wealthy trading house of Augsburg had advanced 21,000 ducats to Albrecht in order to secure for him the Archbishopric of Mainz, which entailed the electorship. The Pope authorized the sale of indulgences to reimburse the Fuggers, provided one half of the proceeds was turned over to the Papal treasury. An agent of the Fuggers subsequently traveled in the Cardinal's retinue in charge of the cashbox. It was Albrecht who appointed the Dominican Tetzel and thus indirectly caused Luther to post his 95 theses on the church doors at Wittenberg:.Artist:D?RER, Albrecht Title: Cardinal Albrecht of Brandenburg; or, The Small Cardinal Painted in 1501-1550 , German - - graphics : portrait
63618
Cardinal Albrecht of Brandenburg
1523 Engraving, 174 x 127 mm Metropolitan Museum of Art, New York "Before I became ill this year I sent an engraved copper plate to Your Electoral Grace with your portrait together with five hundred impressions thereof. Finding no acknowledgment of this in Your Grace's letter, I fear that either the portrait did not please Your Grace - this would sadden me, as my diligence would have had poor results - or else, I fear that it may not have reached Your Grace at all. I beg Your Grace for a gracious reply." Thus we have in D?rer's own words the history of this engraving. The fact that D?rer sent five hundred copies to the Cardinal, all produced at the same time, explains the uniform quality of so many impressions found in various collections. All these have the identical watermark, a small jug. This engraving is based on a new preparatory drawing that probably dates from the Diet of Nuremberg, 1522/23. The Cardinal had gained weight since the earlier portrait (The Small Cardinal) he had wild, protruding eyes, a bulbous mouth and layers of fat on chin and cheeks. D?rer offset the predominant lower part of the face with a large cap. It suggests that beneath it a large impressive head is to be found. In actuality that was not the case. D?rer used utmost discretion in the treatment of the physiological details without denying the monstrous reality. It is D?rer's most interesting utilization of a profile. In contrast with the Small Cardinal, and in accordance with other late portrait engravings, this portrait has depth and substance. It is treated as a real tablet, carved and framed after the fashion of Roman tombstones, which were common in Germany, as in Italy and France.Artist:D?RER, Albrecht Title: Cardinal Albrecht of Brandenburg; or, the Great Cardinal Painted in 1501-1550 , German - - graphics : portrait
63678
Caspar Sturm
1520 Silverpoint, 127 x 189 mm Mus?e Cond? Chantilly This is a leaf from the sketchbook of the trip to the Lowlands. The legend reads: "1520 Caspar Sturm alt 45 Jor zw ach gemacht" (1520, Caspar Sturm, 45 years old, done at Aix-la-Chapelle [Aachen]). The lighting is peculiar, the landscape is related to the portrait. It is conjectured that the word "toll" indicates a tollhouse. The drawing is mentioned in the journal of the trip to the Lowlands: "Ich hob den Sturm conterfet" (I did a portrait of Sturm).Artist:D?RER, Albrecht Title: Caspar Sturm Painted in 1501-1550 , German - - graphics : portrait
42445
Chris before pilate
mk168
1512
118x74mm
1043
Christ Among the Doctors
1506
Foundation Thyssen Bornemisza, Madrid
42439
Christ and the Doctors
mk168
Woodcut
300x208mm
42262
Christ as Man of Sorrows
mk168
oil on fir
30x19cm
1056
Christ as the Man of Sorrows
1493
Staatliche Kunsthalle, Karlsruhe
42450
Christ Bearing the Cross
mk168
1512
117x74mm
42303
Christ Before Caiaphas
mk168
283x178mm
63591
Christ before Caiaphas
1512 Engraving, 117 x 74 mm Metropolitan Museum of Art, New York Sheet No. 4 of the Engraved Passion. The ceiling, in this instance, gives the engraving a feeling of architectural enclosure, quite in contrast to other subjects of the series. The ceiling beams are directed toward the vanishing point on the left. This serves to emphasize the dialogue between Christ and Caiaphas, which is further enhanced by the lighting. The guardsman on the right seems Leonardesque. This engraving is based on the corresponding subject in the Green Passion. The main figures, especially the deceitful Caiaphas, are drawn in a masterly manner.Artist:D?RER, Albrecht Title: Christ before Caiaphas (No. 4) Painted in 1501-1550 , German - - graphics : religious
63594
Christ before Pilate
1512 Engraving, 117 x 75 mm Metropolitan Museum of Art, New York Sheet No. 5 of the Engraved Passion. The false witness is pointing at Christ. The close relationship of this engraving to the Green Passion has been noted by most commentators. Nevertheless, it has recently been asserted that the Green Passion sheets may have been based on the engravings and executed by Hans von Kulmbach. This high degree of similarity of the two renderings casts great doubt on the authenticity of the Green Passion sheet.Artist:D?RER, Albrecht Title: Christ before Pilate (No. 5) Painted in 1501-1550 , German - - graphics : religious
42444
Christ befroe Caiaphas
mk168
1512
117x74mm
42293
Christ Carrying the Cross
mk168
210x285mm
Pen and ink on paper
42294
Christ Carrying the Cross
mk168
210x285mm
63605
Christ Crowned with Thorns
1512 Engraving, 118 x 74 mm Art Museum, Princeton Sheet No. 7 of the Engraved Passion. Christ is shown in profile, yet quite differently from the woodcut versions of this subject. This is richer and more picturesque. Nevertheless, greater clarity is not quite achieved. The similarity of the spatial arrangement to the Flagellation can be observed. Pilate is seen in the background, standing next to Caiaphas. The bald bearded man is reminiscent of Italian model heads.Artist:D?RER, Albrecht Title: Christ Crowned with Thorns (No. 7) Painted in 1501-1550 , German - - graphics : religious
42433
Christ in Limbo
mk168
392x280mm
1510
Woodcut
42259
Christ on the Cross
mk168
220x133mm
42245
Christ on the Cross between the Virgin and St.John
mk168
Pen and ink on paper
310x227mm