| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 42353 |
 |
The Muse Calliope an Engraver of Ferrara |
mk168
201x141mm
|
| 42328 |
 |
The Mystical Betrothal of St.Catherine of Alexandria |
mk168
234x201mm
|
| 33512 |
 |
The Nativity |
mk86
c.1502-1504
Tempera on wood
155x126cm
Munich,Bayerische Staatsgemalde-sammlungen,Alte Pinakothek
|
| 21359 |
 |
The Nativity (mk08) |
c.1502-1504
Tempera on wood
155x126cm
Munich,Bayerische-Staatsgemalde-sammlungen,Alte Pinakothek |
| 42411 |
 |
The Negress Katharina |
mk168
200x140mm
|
| 63586 |
 |
The Negress Katherina |
1521 Silverpoint drawing on paper, 20 x 14 cm Galleria degli Uffizi, Florence D?rer drew the Negress Katherina, the servant of the Portuguese factor Jo?o Brand?o in Antwerp, when she was aged "20 Jar," according to the handwritten note. The portrait drawing is part of a group of works that were created for reasons of personal interest. The portrayed woman is gazing directly at the observer. The curves of her face are modeled with fine lines and cross-hatchings.Artist:D?RER, Albrecht Title: The Negress Katherina Painted in 1501-1550 , German - - graphics : portrait |
| 42410 |
 |
The Painter Lucas Van Leyden |
mk168
244x171mm
|
| 1052 |
 |
The Painter's Father_l |
1497
The National Gallery, London |
| 63612 |
 |
The Peasant and His Wife at the Market |
116 x 73 mm Metropolitan Museum of Art, New York Like almost all engravings after 1514, it is devoid of any landscape in the background. Everything, even the chickens, is shown with an intensity.Artist:D?RER, Albrecht Title: The Peasant and His Wife at the Market Painted in 1501-1550 , German - - graphics : genre |
| 63568 |
 |
The Penance of St John Chrysostom |
1496 Engraving, 180 x 119 mm Metropolitan Museum of Art, New York St John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called "golden-mouthed" (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor's daughter, having lost her way one day, sought refuge in his cave. Upon her insistence he admitted her and they sinned. As penance he vowed to walk on all fours until forgiven. Years later the Empress gave birth to another child who refused baptism except from St John Chrysostom. Everyone despaired of finding him, when some hunters brought a strange wild animal to the festivities. The child, seeing the animal, said, "You are forgiven." St John stood up and shed his long moss-covered hair, and the Pope recognized him. The courtiers searched the desert and found the Emperor's daughter, who had also survived the ordeal in the wilderness. Mrs. Heaton, D?rer's first biographer in English, describes the scene very poignantly: "The princess is quite naked and more graceful in form and more beautiful of face than most of D?rer's female figures. There is a certain tenderness about her that makes us think that perhaps D?rer's sympathies were not entirely with the repentant saint who is seen in the background." The composition was perhaps suggested to D?rer by Jacopo de Barbari's engraving Cleopatra (or vice versa). Raphael must certainly have known this engraving since he borrowed the landscape and the castle, which appear the same in the Oxford drawing for Raphael's Pasadena Madonna and Child. D?rer's figures, however, were of no interest to Raphael. |
| 42382 |
 |
The Penance of St.Jerome |
mk168
Oil on pear wood
|
| 42375 |
 |
The Penance of St.John Chrysostom |
mk168
181x117mm
|
| 63570 |
 |
The Prodigal Son |
261 x 202 mm Staatliche Kunsthalle, Karlsruhe In the Engraving of The Prodigal Son, D?rer deviated considerably from earlier depictions of the theme. Here, the scene is placed in the midst of a Franconian farm and shows the prodigal son at the moment of his repentance, kneeling in prayer on a pile of manure in the foreground amongst the swine. The naturalism of the picture was widely admired and contributed to the fame of the engraving.Artist:D?RER, Albrecht Title: The Prodigal Son Painted in 1501-1550 , German - - graphics : religious |
| 42316 |
 |
The Prodigal Son Amid the Swine |
mk168
248x190mm
|
| 42317 |
 |
The Prodigal Son Amid The Swine |
mk168
248x190mm
|
| 63639 |
 |
The Prodigal Son among the Swine |
1497-98 Pen, 217 x 219 mm British Museum, London The sheet, which is cut at top and bottom, is a preliminary drawing for the (also undated) copperplate engraving, which may be assigned to 1497-98. In the engraving the houses were brought lower, the figures were brought closer together, and the best pig (the one with its feet in the trough) was omitted. The praying swineherd, whose bodily articulation is not easily discernible even in the drawing (the springing of the left leg!) became more unclear in the engraving. Such cases are important for the proper evaluation of the more mature master's efforts for complete clarity of representation.Artist:D?RER, Albrecht Title: The Prodigal Son among the Swine Painted in 1501-1550 , German - - graphics : religious |
| 42337 |
 |
The Samll Horse |
mk168
164x109mm
|
| 42348 |
 |
The Sea Monster |
mk168
246x187mm
|
| 52013 |
 |
The Seven Sorrows of the Virgin |
c. 1496
Oil on panel,
109 x 43 cm |
| 63736 |
 |
The Seven Sorrows of the Virgin: The Flight into Egypt |
1496 Oil on pine panel, 63 x 45,5 cm Gem?ldegalerie, Dresden The Flight into Egypt is one of seven scenes from the Life of Christ which originally surrounded the large central panel of the Mother of Sorrows. In the Gospel of St Matthew (Matt. 2, 13-14), the event is mentioned briefly, though narrated in more detail in the Apocrypha. King Herod ordered that all newborn sons should be killed once he had found out that a future king would be born in Judea. An angel conveys to Joseph God's message to leave the town. Thus the Holy Family fled to Egypt. The group of figures, with Mary riding and holding the Christ Child and Joseph leading the ass, is arranged parallel to the picture in the foreground, an arrangement which is repeated in the later woodcut in the Life of the Virgin. In the foreground the path is stony, and in the background a rocky landscape is visible. The rock is a sign of a safe place of refuge, but can also be interpreted as a mariological and christological symbol: "The stone which the builders rejected, the same is become the head of the corner" (Matt. 21, 42). Both the composition and method of painting still owe much to the Late Medieval workshop tradition.Artist:D?RER, Albrecht Title: The Seven Sorrows of the Virgin: The Flight into Egypt Painted in 1501-1550 , German - - painting : religious |
| 42335 |
 |
The Small Horse |
mk168
164x109mm
|
| 63677 |
 |
The Stork |
1515 Pen drawing Mus?e d'Ixelles, BrusselsArtist:D?RER, Albrecht Title: The Stork Painted in 1501-1550 , German - - graphics : study |
| 42305 |
 |
The Sudarium Held By An Angel on a small Cartellino |
mk168
185x134mm
|
| 42357 |
 |
The Suicide of Lucretia |
mk168
168x75cm
|
| 52017 |
 |
The Suicide of Lucrezia |
1518
Oil on lime panel,
168 x 74,8 cm |
| 63577 |
 |
The Temptation of the Idler; or The Dream of the Doctor |
1498 Engraving, 188 x 119 mm Metropolitan Museum of Art, New York It has been observed by every commentator on D?rer's genius that in his work is found the blending .of two great traditions the medieval, culminating in the Gothic, and the revered Classical, rediscovered and nurtured by the Renaissance, especially in Italy. Erwin Panofsky feels that The Dream, sometimes called The Dream of the Doctor, should be titled The Temptation of the Idler, for here is pictured a slothful, self indulgent individual who sleeps in front of his heated fireplace, comfortably resting his head against a soft pillow. According to medieval codes of conduct such behaviour encouraged temptation, which is represented by the Devil, a demon who "blows" thoughts, presumably evil, into the sleeper's ear. Probably the dream itself is represented by the nude Venus, voluptuous and inviting. She is accompanied, no doubt to identify her, by a playful Eros. The model for the female form may well have been taken from the languorous women of the Italian Jacopo de' Barbari, whose engravings D?rer admired, or from other works by Italian masters which he knew. Young D?rer was trained as an apprentice in his father's goldsmith shop. There he learned the use of the graver or burin for incising designs and images into metal. Practically all of the great masters of the engraved print had similar early training. D?rer's mastery of his tools is evident in this print. Note the clean, sure flicks of the graver, suggesting modeling and volume. In the upper background, minute crosshatching is employed to project the sleeping figure forward from the rear plane. D?rer's training as a goldsmith also prepared him to render the hardware of the furniture, the texture of the tiles, and the graining of wood.Artist:D?RER, Albrecht Title: The Temptation of the Idler; or The Dream of the Doctor Painted in 1501-1550 , German - - graphics : other |
| 42255 |
 |
The Theater of Terence |
mk168
93x147mm
|
| 63649 |
 |
The Virgin among a Multitude of Animals |
1503 Pen and ink and watercolour on paper, 321 x 243 mm Graphische Sammlung Albertina, Vienna The Virgin holds the Christ child, who ignores the natural wonders around him and points towards Joseph. The small figure of Joseph stands near the house and he appears to be conversing with a stork. A closer examination reveals that many incidents from the story of the Nativity are being told. An angel swoops down from the sky to give news of Christ's arrival to shepherds tending their flocks on the hillside. On the left side of the picture, the ships of the three Kings have arrived and the Magi are setting off with their retinues. This charming picture is distinguished from countless depictions of the Nativity by the wonders of nature which D?rer has included. The parrot, perched on the pole by the Virgin's side, was the prophet which announced her arrival. D?rer drew this bird from an earlier study. The artist loved parrots and he later acquired several live specimens on his trip to the Netherlands in 1521. Just beneath the parrot in the watercolour is a green woodpecker, ready to hammer out a song of praise. In the bottom left corner a large stag beetle teases the Virgin's faithful but sleepy dog and a butterfly has gently alighted on its back. All the creatures have a meaning. The chained fox is a symbol of evil. The two owls around the tree stump represent the forces of darkness, but Christ's appearance has deprived them of their power. In the bottom right corner is a crab, like the one which D?rer painted on his first visit to Venice. Among other creatures are a snail, a dragonfly, a pair of swans, a robin, a moth and a water wagtail. D?rer has delicately added colour wash to his pen and ink drawing, blue for the sky and water, a range of greens for the landscape and traces of red for the flowers. The resulting work is extremely delicate, portraying the Virgin and Child with great tenderness and a touch of humour. Two other versions of this picture exist and the composition may well have been intended as a study for a proposed engraving.Artist:D?RER, Albrecht Title: The Virgin among a Multitude of Animals Painted in 1501-1550 , German - - graphics : religious |
| 42485 |
 |
The Virgin and child at a window |
mk168
52x41cm
Oil on linden wood
|
| 41315 |
 |
The Virgin and child with St.Anne |
mk161
Tempera and oil on canvas
transferred from wood
23x19 |
| 42462 |
 |
The Virgin as Mater Dolorosa |
mk168
109x43cm
Oil on coniferous wood
|
| 42276 |
 |
The Virgin before an archway |
mk168
Oil on wood
48x36cm
|
| 42456 |
 |
The Virgin by the Wall |
mk168
1514
147x102mm
|
| 42479 |
 |
The Virgin in Prayer |
mk168
Oil on linden wood
1518
|
| 52021 |
 |
The Virgin Mary in Prayer |
1518
Oil on lindenwood,
53 x 43 cm |
| 63648 |
 |
The Virgin Nursing the Child |
1512 Charcoal, 418 x 288 mm Graphische Sammlung Albertina, Vienna (The sheet is drastically cut at the right and the bottom.) This can scarcely be considered as a preliminary study for a painting; on the contrary, it is an independent drawing par excellence, with a great deal of curly and distinct linear movement. It is clear from this how incompletely the tortured motif of the 1512 painting of the Virgin (Vienna) reveals the artist's general frame of mind in this period.Artist:D?RER, Albrecht Title: The Virgin Nursing the Child Painted in 1501-1550 , German - - graphics : study |
| 42308 |
 |
The Virgin Nursing the Child near the bottom,on a stone |
mk168
1503
113x70mm
|
| 42246 |
 |
The Virgin on a grassy bench |
mk168
engraving
122x84mm |
| 42484 |
 |
The Virgin suckling the Child |
mk168
24x18cm
Oil on linden wood
|
| 42364 |
 |
The Virgin with a Multitude of Animals |
mk168
321x243mm
Pen and ink on paper with watercolor
|
| 42487 |
 |
THe Virgin with the Child holding half a pear |
mk168
49x37cm
1512
Oil on linden wood
|
| 63564 |
 |
The Virgin with the Dragonfly |
1495 Engraving, 240 x 186 mm Staatliche Museen, Berlin The first of D?rer's engravings bearing a monogram and the only one with this archaic version of it. The dragonfly has been variously identified as a grasshopper, a praying mantis and a butterfly. The composition is still primitive, although the severely foreshortened head of St Joseph - asleep and old to stress the notion of Mary's virginity - is in marked contrast to earlier still extant drawings by D?rer of this subject. The sheet is a direct successor to Martin Schongauer's work.Artist:D?RER, Albrecht Title: The Virgin with the Dragonfly Painted in 1501-1550 , German - - graphics : religious |
| 42464 |
 |
The Virgin with the Sleeping clild between Sts.Anthony |
mk168
191x96.5cm |
| 63628 |
 |
The Virgin with Two Angels and Four Saints |
1521 Pen, 252 x 387 mm Mus?e Cond? Chantilly The four saints are St Catherine, St John the Evangelist, St James the Great and St Joseph. This drawing, which is cut at the top, is to be considered as a study for a large painting. It is an example of the new freedom of arrangement on an architectural basis.Artist:D?RER, Albrecht Title: The Virgin with Two Angels and Four Saints Painted in 1501-1550 , German - - graphics : study |
| 42424 |
 |
The Vision of the Seven Candleticks |
mk168
395x284mm
|
| 42434 |
 |
The Visitation |
mk168
300x211mm
|
| 42233 |
 |
The Willow mills on the pegnitz |
mk168
watercolor and tempera on paper
251x367cm
|
| 1058 |
 |
The Wire-drawing Mill |
1489
Kupferstichkabinett, Berlin |
| 42234 |
 |
The Wire-Drawing Mill on the pegnita |
mk168
Silverpoint on prepared paper
151x228mm
|
| 63679 |
 |
The Women's Bath |
1496 Pen, 231 x 226 mm Kunsthalle, Bremen Weak in its perspective and not yet quite clear in its representation of forms, this drawing nevertheless possesses significant qualities: a strong feeling for corporeality and for rich configuration. Form is suggested by light, jumping strokes of the pen, with the vagueness typical of the early period. A painterly effect is sought in the darkness of the wall and ceiling, in which the grain of the wood is disproportionately emphasized, as in the art of the primitives.Artist:D?RER, Albrecht Title: The Women's Bath Painted in 1501-1550 , German - - graphics : study |
| 42329 |
 |
Three Mighty Ladies From Livonia |
mk168
1521
Pen and ink with watercolor
|
| 42275 |
 |
Three Orientals |
mk168
Pen and ink on paper,and watercolor
300x208mm |
| 42310 |
 |
Three Peasants in conver-sation |
mk168
107x76mm
|
| 63571 |
 |
Three Peasants in Conversation |
1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre |
| 42379 |
 |
Trent Seen From the North |
mk168
198x257mm
Watercolor and body color on paper
|
| 83816 |
 |
Trommler und Pfeifer |
1504(1504)
Medium Oil on panel
Dimensions 94 x 51.2 cm (37 x 20.2 in)
cyf |
| 79826 |
 |
Trommler und Pfeifer. |
ca. 1504(1504)
Oil on panel
94 x 51.2 cm (37 x 20.2 in)
cjr |
| 33510 |
 |
Two Apostles |
mk86
1526
Oil on wood
215.5x76
Munich,Bayerische Staats-gamaldesammlungen,Alte Pinakothek
|
| 33511 |
 |
Two Apostles |
mk86
1526
Oil on wood
214.5x76cm
Munich,Bayerische Staats-gamaldesammlungen,Alte Pinakothek
|
| 52016 |
 |
Two Musicians |
c. 1504
Oil on panel,
94 x 51 cm |
| 42307 |
 |
Two Venetian Ladies |
mk168
290x173mm
|
| 42408 |
 |
Ulrich Stark |
mk168
407x297mm
|
| 42415 |
 |
Ulrich Varnbuhler |
mk168
437x326mm
|
| 42373 |
 |
Valley near Kalchreuth |
mk168
106x316mm
|
| 42273 |
 |
View of Heroldsberg |
mk168
Pen and ink on paper
211x263mm
|
| 63732 |
 |
Virgin and Child before an Archway |
1495 Oil on panel, 48 x 36 cm Magnani Collection, Mamiano near Parma Mary and the Christ Child sitting in her lap appear to be right in the foreground of a space which opens to one side onto a bordering interior courtyard. The baby reaches for his mother's hand and their eyes meet. While the Madonna still owes much to the Late Gothic German type, the Christ Child is reminiscent of Italian models. Half length figures such as this early picture of the Madonna were widespread in Italy and the Netherlands. The depiction of the space with the view to the side through an arch is reminiscent of Flemish models, but the figural conception and monumental triangular composition of the group of figures also relates to Italy, in particular to the Madonna paintings by Giovanni Bellini. The picture dates either from D?rer's visit to Venice in 1494-5 or soon afterwards in Nuremberg. It was discovered in the 1950s in the Capuchin monastery of Bagnacavallo, near Ravenna, and this suggests that it was painted in Italy where it has remained.Artist:D?RER, Albrecht Title: Virgin and Child before an Archway Painted in 1501-1550 , German - - painting : religious |
| 1053 |
 |
Virgin Child before an Archway |
Fondazione Magnani-Rocca, Parma |
| 42457 |
 |
Virgin with the Swaddled |
mk168
1520
142x95mm
|
| 42495 |
 |
Vision of a Cloudburst |
mk168
300x425mm
1822
|
| 63606 |
 |
Walrus |
1521 Pen drawing with watercolours, 206 x 315 mm British Museum, London Throughout his life, D?rer was interested in oddities of nature. The walrus has pushed the front half of his body into the picture and is looking at the observer with his peculiarly glassy gaze; this has led to the suggestion that D?rer created the study from a chopped off walrus head or stuffed animal, and completed the rest from his imagination. The study was to be used as a detail in the altar painting of an enthroned Madonna and Child surrounded by eight saints and angels playing instruments, but this work was never produced. At the top left D?rer wrote: "Das dozig thyr van dem ich do das hawbt conterfett hab, ist gefange worden in der niderlendischen see und was XII ellen brawendisch mit f?r f?ssen" (The animal which I have drawn this picture of was captured in the Dutch Sea and was twelve cubits in size with four feet).Artist:D?RER, Albrecht Title: Walrus Painted in 1501-1550 , German - - graphics : other |
| 63624 |
 |
Willibald Pirckheimer |
1524 Engraving, 181 x 115 mm Metropolitan Museum of Art, New York The celebrated humanist Willibald Pirckheimer, counselor to the Emperor, friend of Erasmus of Rotterdam, member of the Nuremberg city council, translator of Greek and Latin classics, commander of the Nuremberg contingent of troops in the Swiss War, was Albrecht D?rer's closest friend and mentor. Suffering from severe gout, Pirckheimer had retired from the city council shortly before D?rer engraved this portrait. The copper plate portrait is an example of the new portraits he created using printed graphics. The bust is placed, like a monument, above an inscription that reads like an epitaph. It refers to the contributions and character of Pirckheimer, and the inscription beneath the portrait reads: "Image of Willibald Pirckheimer at age 53. Man lives through his intellect; all else will belong to death. 1524" (based on Livy III, 36). In this likeness, too, D?rer could not resist the temptation to show the reflection of windows in the eyes. The magnificent bulldog head of D?rer's best friend is not so much embellished as transfigured. Mass is converted into energy, and the heavy features of the learned irascible giant appear illumined, as it were, by the enormous eyes which flare from their sockets like powerful searchlights. This engraving was used as a bookplate by Pirckheimer. Many volumes containing it, formerly in the possession of the Royal Society, were sold at auction in London in 1925. Until 1945 there was an impression on white satin, probably posthumous, at Bremen.Artist:D?RER, Albrecht Title: Willibald Pirckheimer Painted in 1501-1550 , German - - graphics : portrait |
| 63655 |
 |
Willibald Pirckheimer |
1503 Charcoal drawing, 282 x 208 mm Staatliche Museen, Berlin In the portrait drawing of Willibald Pirckheimer, seen in profile looking to the left, D?rer was making use of a silver point drawing and "refined his friend's features without flattering him," as Panofsky stated. The famous humanist was a close friend and intimate of D?rer's. It is possible that D?rer was stimulated to produce this profile portrait by ancient imperial coins, though it is also possible that the drawing was used as a pattern by a medal maker.Artist:D?RER, Albrecht Title: Willibald Pirckheimer Painted in 1501-1550 , German - - graphics : portrait |
| 42362 |
 |
Wing of a Blue Roller |
mk168
1512
197x200mm
|
| 1059 |
 |
Wing of a Roller |
1512
Graphische Sammlung, Albertina, Vienna |
| 63636 |
 |
Winged Man |
in Idealistic Clothing, Playing a Lute 1497 Silverpoint on dark paper, with white highlights, 268 x 195 mm Staatliche Museen, Berlin The statuesque model was also available to the artist during his work on The Apocalypse. In that series the head recurs not only in the destroying angels, but also in the apocalyptic horsemen and the angels that calm the winds.Artist:D?RER, Albrecht Title: Winged Man, in Idealistic Clothing, Playing a Lute Painted in 1501-1550 , German - - graphics : study |
| 42330 |
 |
Woman in Netherlandish artist |
mk168
1521
283x195mm
|
| 42395 |
 |
WQild man with the Coat of arms of oswolt krel |
mk168
49x16cm
Oil on linden wood
|
| 42326 |
 |
Young Couple |
mk168
Pen and ink on paper
257x191mm
|
| 63576 |
 |
Young Couple Threatened by Death |
1498 Engraving, 196 x 121 mm Staatliche Kunsthalle, Karlsruhe The Engraving showing a strolling couple is one of the genre pictures which D?rer created in the tradition of the Master of the Housebook and Martin Schongauer. As the gallant gazes at his companion adoringly, he points ahead to the path. The ostrich feather he is wearing in his hat is a sign of his bachelor status. The fantastic costume worn by the woman combines elements from both Nuremberg and Venetian fashion. Behind the tree, unnoticed by the lovers, Death is holding up an hourglass. The picture can be interpreted as a moralizing metaphor for the transitoriness of love and sensuality. The figure of death does not necessarily indicate a warning to lovers, as this was not customary in the fifteenth century. Death was, however, frequently pictured as a reminder that life on earth should not be solely devoted to pleasure and luxury. The cap worn by the man is a precursor of the berets which became popular in the sixteenth century. He has also already discarded the pointed shoes of the type still worn by his companion. The tall grass-like plant in the foreground may be allegorical, related to the quotation from Isaiah in the Basle Dance of Death that "all flesh is like hay and grass; grass dries up and flowers wilt. "Artist:D?RER, Albrecht Title: Young Couple Threatened by Death; or, the Promenade Painted in 1501-1550 , German - - graphics : mythological |
| 58703 |
 |
Young Hare |
Young Hare, 1502, Watercolour and bodycolour (Albertina). |
| 42391 |
 |
Young Man as St.Sebastian |
mk168
52x40cm
Oil on wood
|
| 42407 |
 |
Young man with a cap |
mk168
298x215mm
|
| 63563 |
 |
Young Woman Attacked by Death |
1494 Engraving, 114 x 102 mm Staatliche Kunsthalle, Karlsruhe In the middle of the picture, on a turf bench, a wild wood gnome is attacking a young woman who defends herself angrily. While the lean, bony man is reminiscent of depictions of Death, the dead tree to the left of the turf bench is a symbol of vice and fated undoing. The original intention was to include a commentary, as is shown by the empty inscription cartouche above the scene. The most obvious interpretation is that made by Panofsky, who considered the small genre picture to be an allegory of death. This engraving is today generally accepted as being by D?rer, although it is reminiscent of the Housebook master in several respects. The thistle-like plant in the background, eryngium (sea holly), occurs in several of D?rer's early works. Its reputedly aphrodisiac qualities were, according to Pliny, known already to the ancient Greeks, and apparently fascinated the young D?rer. Perhaps the print is related to a Nuremberg news item of the year 1489, when a man was hanged for a number of attacks on women.Artist:D?RER, Albrecht Title: Young Woman Attacked by Death; or, The Ravisher Painted in 1501-1550 , German - - graphics : mythological |
| 42496 |
 |
Young Woman in Prayer with Loose Hair |
mk168
1497
Oil on canvas
56x43cm
|
| 42398 |
 |
Young Woman with a Red Beret |
mk168
1507
Oil n vellum
30.4x20cm
|
| 42397 |
 |
Young Woman with Bound Hair |
mk168
55x42cm
Oil on canvas
|
| 42248 |
 |
Youth kneeling beffore the judge |
mk168
Pen and ink on paper
252x189mm
|
| 42639 |
 |
Zelfportret |
MK169
1500 Panel 67x49cm Alte Pinakothek, Munchen |
