| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 63574 |
 |
Christ on the Mount of Olives |
1521 Pen and ink, 208 x 294 mm St?delsches Kunstinstitut, Frankfurt Christ is lying completely flat on the ground ("fell on his face, and prayed"); D?rer could have seen this posture depicted by Mantegna. The rocks in starlike layers and the veil of mist pressing down from above lend support to the effect of the motif. The Apostles are small and are sitting off to a side by themselves.Artist:D?RER, Albrecht Title: Christ on the Mount of Olives Painted in 1501-1550 , German - - graphics : religious |
| 42221 |
 |
Christ,Man of Sorrow,with Durer-s Features |
mk168
1522
Drawing in Lead-point
|
| 86372 |
 |
Christus als Schmerzensmann |
Date 1493/94
Medium Oil and tempera on wood
Dimensions 30,1 x 18,8 cm
cjr |
| 63587 |
 |
Coat-of-Arms with a Skull |
1503 Engraving, 220 x 156 mm Art Institute, Chicago This engraving is not mentioned in D?rer's diary of his trip to the Low Countries in 1520/21. The subject seems to be connected with the Bavarian War of 1503. Duke George the Rich had died that year without male issue. Contrary to Imperial law, he left his lands to his daughter. This led to the War of the Bavarian Succession, in which the city of Nuremberg was deeply involved. Her army captured much of the surrounding territory and Nuremberg became the largest of the "free cities" of the Empire. This engraving appears to be an allegory of this war, which ended badly for the ill-advised titled lady. The Emperor deprived her of her lands, while Nuremberg was permitted to retain the conquered territory.Artist:D?RER, Albrecht Title: Coat-of-Arms with a Skull Painted in 1501-1550 , German - - graphics : other |
| 52012 |
 |
Combined Coat-of-Arms of the Tucher and Rieter Families |
1499
Oil on panel,
28 x 24 cm |
| 52055 |
 |
Courtyard of the Former Castle in Innsbruck without Clouds |
1494
Watercolour on paper,
335 x 267 mm |
| 42311 |
 |
Dancing Peasant Couple |
mk168
1514
118x75mm
|
| 63659 |
 |
Death of Orpheus |
1494 Pen drawing, 289 x 225 mm Kunsthalle, Hamburg This drawing is probably derived from a painting by Andrea Mantegna, whose printed graphics D?rer copied. Mantegna in his turn was using Greco-Roman models. This landscape, the details of the drapery folds and the handling of the line in general are worked out in a quite independent fashion. The centre of the picture is the male nude in motion. According to the Metamorphoses by the classical author Ovid (43 B.C.-17/18 A.D.), Orpheus introduced homosexual love to Thrace and for that reason is beaten to death by two Thracian women during a bacchanal. The group of figures is placed before a central tree in which an open book with music is hanging. The classical singer's lyre is lying at his feet. In the tree a banderole with legends: "Orfeus der erst puseran" (Orpheus, the first pederast). The woman at the left and the boy were used by D?rer a few years later in the engraving known as "Jealousy" (more correctly "Chastity and Unchastity").Artist:D?RER, Albrecht Title: Death of Orpheus Painted in 1501-1550 , German - - graphics : mythological |
| 63632 |
 |
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 |
| 42224 |
 |
Desiderius Erasmus of Rotterdam |
mk168
1520
Charcoal on paper
373x271mm
Pairs
|
| 42239 |
 |
Design for the Great triuphal Chariot of Emperor Maximilian i |
mk168
Pen and ink on paper iwth waterclor
1518
460x2530mm
|
| 63680 |
 |
Design of a Goblet with a Variant of the Base |
1515 Pen, 256 x 167 mm British Museum, LondonArtist:D?RER, Albrecht Title: Design of a Goblet with a Variant of the Base Painted in 1501-1550 , German - - graphics : other |
| 88856 |
 |
Die Ferlegerin mit geflochtenem Haar |
1497(1497)
Medium oil on canvas
Dimensions 56.5 x 42.5 cm (22.2 x 16.7 in)
cyf |
| 82399 |
 |
Die Ferlegerin mit offenem Haar |
1497(1497)
Medium Oil on canvas
Dimensions 56 x 43 cm (22 x 16.9 in)
cyf |
| 96054 |
 |
Die Furlegerin mit offenem Haar |
1497(1497)
Medium oil on canvas
Dimensions 56 x 43 cm (22 x 16.9 in)
cjr |
| 83380 |
 |
Die Madonna mit der Birnenschnitte |
1512(1512)
Medium Deutsch: Holz
Dimensions Deutsch: 49 x 37 cm
cyf |
| 89306 |
 |
Die sieben Schmerzen Maria, Mitteltafel |
c. 1494 - 1497
Medium oil on panel
Dimensions Deutsch: 63 x 46 cm
cjr |
| 90282 |
 |
Die sieben Schmerzen Maria, Mitteltafel |
c. 1494-1497
Medium oil on panel
Dimensions 109,2 x 43,3 cm
cjr |
| 34372 |
 |
Die Vier Apostel |
mk92
1526
206x76cm
Munchen,Bayerische Staatsgemaldesammlung
|
| 76310 |
 |
Dreikonigsaltar |
Deutsch: um 1504
English: c. 1504
Medium Oil on panel
Dimensions Deutsch: 96 ?? 54 cm
cyf |
| 42212 |
 |
Durer-s Mother Barbara,Nee Holper |
mk168
on top
in the center,the year 1514
|
| 42217 |
 |
Durer-s wife Agnes |
mk168
156x98mm
|
| 42448 |
 |
Ecce Homo |
mk168
1512
117x75mm
|
| 78620 |
 |
Ecce Homo |
Oil on panel
Dimensions Deutsch: 30 x 19 cm
cyf |
| 79673 |
 |
Ecce Homo |
Oil on panel
Dimensions Deutsch: 30 x 19 cm
cyf |
| 42389 |
 |
Elector Frederick the Wise |
mk168
76x57mm
|
| 42416 |
 |
Elector Frederick The Wise |
mk168
192x127mm
1524
|
| 42390 |
 |
Elsbeth Tucher |
mk168
29x23cm
Oil on linden wood
|
| 42236 |
 |
Emperor charlemagne |
mk168
215x115.3cm
oil on lindenwood
|
| 42237 |
 |
Emperor charlemagne |
mk168
Oil on canvas
85x65cm
|
| 63740 |
 |
Emperor Charlemagne |
1512 Oil on lindenwood, 188 x 87,6 cm Germanisches Nationalmuseum, Nuremberg The idealized portrait of Emperor Charlemagne was intended for the "Heiltumskammer" in the Schoppersche House by the marketplace, together with the portrait of Emperor Sigismund of Poland (also in Nuremberg). This was where the coronation insignia and relics were kept, which were put on display once a year at the so-called "Heiltumsweisungen." The physiognomy of Charlemagne, shown in the magnificent original coronation robes, is reminiscent of depictions of God the Father. The crown, sword and imperial orb were prepared by D?rer in sketches. The German imperial coat of arms and French coat of arms with the fleur-de-lis are emblazoned at the top.Artist:D?RER, Albrecht Title: Emperor Charlemagne Painted in 1501-1550 , German - - painting : portrait |
| 52019 |
 |
Emperor Charlemagne and Emperor Sigismund |
c. 1512
Oil and tempera on panel,
215 x 115 cm |
| 39730 |
 |
Emperor Maximilian |
mk150
1519
74x61.5cm
|
| 52028 |
 |
Emperor Maximilian |
1519
Tempera on canvas,
83 x 65 cm |
| 42240 |
 |
Emperor Maximilian i |
mk168
381x319mm
|
| 63748 |
 |
Emperor Maximilian I |
1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait |
| 84395 |
 |
Emperor Maximilian I |
Date 1519(1519)
Medium Oil on linden
Dimensions Height: 74 cm (29.1 in). Width: 62 cm (24.4 in).
cjr |
| 88185 |
 |
Emperor Maximilian I |
1519(1519)
Medium Oil on linden
cyf |
| 52020 |
 |
Emperor Sigismund |
c. 1512
Oil on lindenwood,
187,7 x 87,5 cm |
| 42211 |
 |
Endres Durer |
mk168
1484-1555
entered the Nuremberg gold-smiths-guild as a master in 1514
|
| 42231 |
 |
Eobanus Hesse with the monogram of the artist |
mk168
169x117mm
London
|
| 42341 |
 |
Equestrian Kninght in Armor |
mk168
410x324mm
|
| 42241 |
 |
Erasmus of Rotterdam |
mk168
249x193mm
|
| 28092 |
 |
Eva |
mk61
1507
Oil on panel
209x80cm
|
| 74567 |
 |
Eva |
209 X 83 cm
1507(1507)
Oil on panel
cjr |
| 76117 |
 |
Eva |
1507(1507)
Medium Oil on panel
cyf |
| 42372 |
 |
Exit from a Quarry |
mk168
Pen and ink on paper
325x218mm
|
| 63726 |
 |
Feast of the Rose Garlands |
1506 Oil on poplar panel National Gallery, Prague The Feast of the Rose Garlands is undoubtedly the most important work that D?rer created during his sojourn in Venice and was the work that ushered in the Renaissance. D?rer was obviously aware of this, as his letters and the painting itself demonstrate. The painting shows this in the distinction he gives his self-portrait: in the top right, in front of the typically German landscape passage at the foot of the mountains, with his face framed by long blond hair, donning luxurious clothes - even a precious fur cloak, in spite of the warm season - so as to be noticed among the other characters. He alone has ostentatiously turned his gaze to the spectator. Even the writing on the paper he holds is unusual for Italy. It indicates not only the time of production (five months), but next to his own name is the indication germanus. This detail was to distinguish himself from his Venetian colleagues, who evidently held him in very high regard, since even the doge and the patriarch came to his workshop to admire his work. The artist's companion is likely to be Leonhard Vilt, founder of the Brotherhood of the Rosary in Venice. The man in the far right, recognizable by the square he holds, is the architect Hieronymus of Augsburg, engineer of the new Fondaco dei Tedeschi (1505-8) after it was completely destroyed in a fire. Inscription on the sheet in the artist's hand, monogrammed and autograph writing: EXEGIT QUINQUE MESTRI SPATIO ALBERTUS DURER GERMANUS MDVI. (`Albrecht D?rer, a German, produced it within the span of five months. 1506.')Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious |
| 63727 |
 |
Feast of the Rose Garlands |
1506 Oil on poplar panel National Gallery, Prague The detail shows the artist's self-portrait in front of ae typically German landscape.Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious |
| 88607 |
 |
Feast of the Rose Garlands |
1506(1506)
Medium Oil on poplar
Dimensions Height: 162 cm (63.8 in). Width: 194.5 cm (76.6 in).
cjr |
| 42393 |
 |
Felicitas Tucher,nee Rieter |
mk168
Oil on wood
28x24cm
|
| 63670 |
 |
Female Nude from Behind |
1495 Brush drawing on paper, 32 x 21 cm Mus?e du Louvre, Paris This female nude seen from behind records D?rer's interest in human proportions during his first Italian journey. The attributes, staff and cloth, suggest that this freely drawn nude study was created from a model. The firmly sketched shape of her body forms a charming contrast with the glazed, freely swinging cloth. The head and cloth are executed with gentle brushstrokes and clearly show a spatially plastic relationship between the figure and pictorial space.Artist:D?RER, Albrecht Title: Female Nude from Behind Painted in 1501-1550 , German - - graphics : study |
| 63566 |
 |
Five Lansquenets and an Oriental on Horseback |
1495 Engraving, 132 x 147 mm Metropolitan Museum of Art, New York In early commentaries the scene was described as a band of robbers attacking D?rer, or as William Tell. More recently it has been suggested that it had originally been intended as a scene beneath the Cross. Italian influence is manifest, but the grouping, particularly the position of the Oriental horseman, is a little awkward. Note the scotch plaid pattern of the Turk's saddlecloth.Artist:D?RER, Albrecht Title: Five Lansquenets and an Oriental on Horseback Painted in 1501-1550 , German - - graphics : other |
| 63595 |
 |
Five Male Nudes |
185 x 195 mm Staatliche Museen, Berlin This drawing, in woodcut style, may have been a study for a Resurrection.Artist:D?RER, Albrecht Title: Five Male Nudes Painted in 1501-1550 , German - - graphics : study |
| 21358 |
 |
Four Apostles (mk08) |
1526
Oil on wood
Munich,Bayerische Staats-gemaldesmmlungen,Alte Pinakothek |
| 42417 |
 |
Frederick II |
mk168
164x117mm
Silver-Point on prepared paper
|
| 42218 |
 |
Girl in Cologne Attire and Agnes Durer |
mk168
129x190mm
Vienna,Albertina
|
| 63667 |
 |
Green Passion: Christ before Caiaphas |
1504 Pen drawing on green primed paper, 283 x 178 mm Graphische Sammlung Albertina, Vienna The Green Passion, so named after the green primed paper, consists of twelve sheets, the purpose of which is not known. It has been assumed that they were used as preliminary sketches for stained glass windows. Like the other pictures, the sheet of Christ before Caiaphas distinguishes itself through its fine white highlights which achieve a magical plasticity and dramatic lighting - as was created by the "clair-obscur" technique - in their harmony with the green base colour of the scene. Christ and Pilate, the two antagonists in the foreground, are positioned opposite each other and emphasized both by the lighting and the architecture.Artist:D?RER, Albrecht Title: Green Passion: Christ before Caiaphas Painted in 1501-1550 , German - - graphics : religious |
| 63663 |
 |
Hand Study with Bible - Drawing |
280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study |
| 42392 |
 |
Hans Tucher |
mk168
28x24cm
Oil on wood
|
| 55986 |
 |
hare |
1502,watercolor on paper,9.875x9.125 in,25x23 cm,graphische sammlung albertina,vienna,austria |
| 63634 |
 |
Harrowing of Hell |
1512 Engraving, 117 x 73 mm Metropolitan Museum of Art, New York Sheet No. 14 of the Engraved Passion. Adam and Eve are on the left, Moses is behind them, Cerberus above. The contrast between engraved and woodcut versions is similar to that described for the Deposition. The man whose arm Christ is touching is probably St John the Baptist. This print is a new and felicitous rendering, bearing witness to D?rer's inventiveness and imagination. Eve looks charming next to the aged Adam.Artist:D?RER, Albrecht Title: Harrowing of Hell; or, Christ in Limbo (No. 14) Painted in 1501-1550 , German - - graphics : religious |
| 42491 |
 |
Head of a boy facing toward the right |
mk168
226x193mm
Watercolor on paper
|
| 42492 |
 |
Head of a boy facing toward the left |
mk168
223x181mm
Paris
|
| 63685 |
 |
Head of a Negro |
1508 Charcoal, 320 x 218 mm Graphische Sammlung Albertina, Vienna This study was done in Nuremberg. A Negro always figured in scenes of the Adoration of the Wise Men. This drawing is parallel in time with the studies for the Heller Altar; in comparison with them it has a special freshness.Artist:D?RER, Albrecht Title: Head of a Negro Painted in 1501-1550 , German - - graphics : study |
| 42288 |
 |
Head of a Weeping cherub |
mk168
211x167,mm
|
| 42280 |
 |
Head of an angel |
mk168
270x208mm
|
| 63640 |
 |
Head of an Angel |
1506 Brush drawing on blue Venetian paper, 270 x 208 mm Graphische Sammlung Albertina, Vienna There are a total of 22 preliminary studies, every one of which can be considered an autonomous work of art, in which D?rer prepared the Feast of the Rose Garlands (National Gallery, Prague). The head of the lute-playing angel by the Madonna's feet is a masterpiece of drawing. The technique of the brush drawing with white highlights on blue paper was one D?rer became acquainted with in Venice. The interplay of white and dark parallel and cross-hatchings which gently follow the curves of the face create the plastic effect of the light and dark shades.Artist:D?RER, Albrecht Title: Head of an Angel Painted in 1501-1550 , German - - graphics : study |
| 63676 |
 |
Head of an Apostle Looking Downward |
1508 Brush drawing with white highlights on a dark ground, 316 x 229 mm Graphische Sammlung Albertina, Vienna Study for the Heller Altar. This was a type that long interested D?rer and is still discernible in the head of St Paul in the Munich paintings of Apostles. All the forms contribute with unusual power to the unified expression.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Downward Painted in 1501-1550 , German - - graphics : study |
| 63681 |
 |
Head of an Apostle Looking Upward |
1508 Brush drawing with white highlights on a dark ground, 288 x 207 mm Staatliche Museen, Berlin Study for the Heller Altar. The modern mistrust of any calligraphy in drawing should not be allowed to blind the viewer to the new psychological greatness that such figures introduce into German art.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Upward Painted in 1501-1550 , German - - graphics : study |
| 63598 |
 |
Head of St Mark |
1526 Chalk with white highlights, 373 x 265 mm Staatliche Museen, Berlin This is a study for the Apostle in the great Munich painting. In its expression of spiritual excitement the head in this drawing is decidedly superior to the one in the painting. Tossing briskly, the locks of hair continue the theme of movement. At the same time, the natural appearance of the hair seems to have been oddly neglected in the rendering ("pretzel locks"). Drawings of this type, in very large format and only superficially finished, do not occur in the earlier period.Artist:D?RER, Albrecht Title: Head of St Mark Painted in 1501-1550 , German - - graphics : study |
| 42505 |
 |
Head of St.Peter |
mk168
1526
354x288mm
|
| 42474 |
 |
Head of the Apostle james |
mk168
46x38cm
Oil on canvas
|
| 42473 |
 |
Head of the Apostle Philip |
mk168
Oil on canvas
46x38cm
|
| 63653 |
 |
Head of the Twelve Year Old Christ |
1506 Brush drawing on blue Venetian paper, 275 x 211 mm Graphische Sammlung Albertina, Vienna The head study of the twelve year-old Jesus was originally drawn on the same sheet, later separated, as the preliminary drawing of the lute-playing angel in the Feast of the Rose Garlands. This is confirmed by the fact that the two pictures were created at the same time. In contrast to the preliminary drawing for the Feast of the Rose Garlands, D?rer kept more rigidly to his preliminary study in the painting of Christ among the Doctors, diverging only in details such as the reproduction of the hair.Artist:D?RER, Albrecht Title: Head of the Twelve Year Old Christ Painted in 1501-1550 , German - - graphics : study |
| 78807 |
 |
Heiliger Onophrius |
ca. 1504(1504)
Oil on panel
20 x 58 cm (7.9 x 22.8 in)
cjr |
| 81888 |
 |
Heiliger Onophrius |
. 1504(1504)
Medium Oil on panel
Dimensions 20 x 58 cm (7.9 x 22.8 in)
cyf |
| 52029 |
 |
Heller Altar |
1508-09
Tempera and oil on wood,
189 x 138 cm |
| 63752 |
 |
Heller Altar |
1508-09 Tempera and oil on wood, 189 x 138 cm (central element) Historisches Museum, Frankfurt In the center-ground of the landscape, D?rer stands as usual with the explicative tablet and his gaze fixed straight ahead. Inscription on the table before the self-portrait: ALBERTVS DVRER ALEMANVS FACIEBAT POST VIRGINIS PARTVM 1509. The background presses into the far distance, toward a lake enclosed by hills, peppered with buildings.Artist:D?RER, Albrecht Title: Heller Altar (detail) Painted in 1501-1550 , German - - painting : religious |
| 42351 |
 |
Hercules at the Crossroads |
mk168
323x223mm
|
| 42318 |
 |
Hercules Killing the Molionides |
mk168
395x285mm
|
| 42352 |
 |
Hercules Kills the Stymphalic Birds |
mk168
85x110cm
|
| 42418 |
 |
Hieronymus Holzschuher |
mk168
48x36cm
Oil on linden wood
|
| 25870 |
 |
Hieronymus Holzschuher (mk45) |
1526
Oil on panel.
48x26cm
Berlin,Staatliche Museen zu Beelin-Prubischer Kulturbesitz,Gemaldegalerie
|
| 79166 |
 |
Hiob von seiner Frau verhohnt |
ca. 1500-1503
color on linden
96 x 51 cm (37.8 x 20.1 in)
cjr |
| 63585 |
 |
Iris |
1503 Brush, pen, ink, watercolour and body-colour, height: 77cm Kunsthalle, Bremen The flower (Iris trojana, formerly Iris germanica) was konown in the 15th century only in Venice. D?rer was probably inspired by the sketchbook of Jacopo Bellini during his fist stay in Venice.Artist:D?RER, Albrecht Title: Iris Painted in 1501-1550 , German - - graphics : other |
| 82271 |
 |
Jabach Altar linker Flugel auben |
. 1500-1503
Medium color on linden
Dimensions 96 x 51 cm (37.8 x 20.1 in)
cyf |
| 83200 |
 |
Jabacher Altar |
c. 1500-1503
Medium Deutsch: Lindenholz
Dimensions 97 x 55 cm (38.2 x 21.7 in)
cyf |
| 42402 |
 |
Jako Fugger The Rich |
mk168
Oil on canvas
69.4x53cm
1500
|
| 52027 |
 |
Jakob Fugger |
the Wealthy
1518-20
Tempera on canvas,
69,4 x 53 cm |
| 42419 |
 |
Jakob Muffel |
mk168
48x36cm
Oil on wood transferred to canves
|
| 42260 |
 |
Jean Charlier de gerson as a pligrim |
mk168
223x149mm
|
| 70845 |
 |
Jesusknabe mit Weltkugel |
Medium Deutsch: keine Angaben
Dimensions Deutsch: 118 x 93 cm
|
| 42435 |
 |
Joachim and the Angel |
mk168
296x210mm
Woodcut
|
| 52015 |
 |
Job and His Wife |
c. 1504
Oil on panel,
94 x 51 cm |
| 42465 |
 |
Job Castigated by his wife |
mk168
94x51cm
|
| 42342 |
 |
Kinght,Death and Devil |
mk168
244x189mm
|
| 78792 |
 |
Knabenkopf nach links geneigt |
c. 1503
Oil on canvas
23,1 x 17,9 cm
cjr |
| 83397 |
 |
Knabenkopf nach rechts geneigt |
Oil on canvas
Dimensions Deutsch: 25,5 x 19,2 cm
cyf |
| 45883 |
 |
Knight death and devil |
mk178
1513 copper stings 24.6x18.9cm |
