The literary heritage of Albrecht Dürer has never been published in Russian in such a volume that one could get at least some complete understanding of it. This publication should, to a certain extent, fill this gap. The collection offered to the reader's attention includes autobiographical materials, letters, diaries of the artist and excerpts from his theoretical works.

(1471-1528)

Albrecht Durer born May 21, 1471 in Nuremberg, the main center of German humanism. His artistic talent, business qualities and worldview were formed under the influence of three people who played the most important role in his life: his father, a Hungarian jeweler; godfather Koberger, who left jewelry art and took up publishing; and Durer’s closest friend, Wilibald Pirckheimer, an outstanding humanist who introduced the young artist to new Renaissance ideas and works of Italian masters.

His father, Alberecht Dürer Sr., was a goldsmith, he literally translated his Hungarian surname Aitoshi (Hungarian Ajtósi, from the name of the village of Aitosh, from the word ajtó - “door”) into German as Türer; she subsequently began recording as Dürer.

Later in his diary entitled "Family Chronicle" Dürer leaves the following note:

"The year is 1524 after Christmas in Nuremberg.

I, Albrecht Durer the Younger, wrote down from my father’s papers where he came from, how he came here and stayed here to live and rest in peace. May God be merciful to us and to him. Amen.

Albrecht Dürer the Elder was born in the kingdom of Hungary, near a small town called Yula, eight miles below Vardein, in a nearby village called Eitas, and his family supported themselves by breeding oxen and horses. But my father’s father, whose name was Anton Durer, as a boy came to the above-mentioned town to a goldsmith and learned his craft from him. Then he married a girl named Elizabeth, with whom he had a daughter, Katerina, and three sons. The first son, named Albrecht Durer, was my dear father, who also became a goldsmith, a skilled and pure-hearted man."

Albrecht Dürer Sr.'s childhood was spent far from Nuremberg, outside of Germany, in a small Hungarian town. From time immemorial, his grandfathers and great-grandfathers raised cattle and horses on the Hungarian plains, and his father Anton Dürer became a goldsmith. Goldsmith Anton Durer taught his son everything he knew about handling silver and gold, then sent him to learn from masters on a foreign side.

Portrait of the artist's father. 1490 Wood, oil
Uffizi Gallery. Florence. Italy

This is his first painting by Albrecht Durer that has come down to us. This is the first work that Durer marked with his monogram. Having painted a portrait of his father, he finally realized himself as an artist. At this time, Dürer painted portraits of his mother and father. He conceived this work as a gift to his parents, especially his father. This work was a gratitude for the fact that the father did not prevent his son from becoming an artist. She was proof that, having left the family profession for another, the son would not deceive his father’s hopes: what he wanted to do, he learned to do for real.

Albrecht Durer Sr. was twenty-eight years old when he crossed the city limits of Nuremberg. And for another twelve whole years he served as an apprentice to the goldsmith Jerome Holper. He had long been called the Old Man, but he was in no hurry to retire. Albrecht Durer spent many years mastering his craft. They brought knowledge of techniques and secrets, gave vigilance to the eye, firmness to the hand, refined the taste, but, alas, it often seemed to him that he would remain an eternal apprentice. Only after reaching forty years old was he able to present property worth one hundred guilders, which was required to obtain the rights of a master; of which he paid ten for a certificate of these rights, married Holper’s fifteen-year-old daughter Barbara and, with the help of his father-in-law, finally opened an independent workshop.

Portrait of Barbara Dürer, née Holper 1490-93
Dürer wrote the following about his father in his diary:

"...Albrecht Dürer the Elder spent his life in great diligence and hard work and had no other food than that which he obtained with his own hands for himself, his wife and children. Therefore, he had little. He also experienced a lot of grief, conflicts and troubles. Also, many who knew him praised him greatly. For he led an honest life worthy of a Christian, was a patient and kind person, friendly to everyone, and he was filled with gratitude to God. He was far from society and worldly joys, and he was also a man of few words and a God-fearing man."

Albrecht Durer Sr. had a lot of worries. Children were born almost every year: Barbara, Johann, Albrecht...

Albrecht Dürer once wrote in his memorial book:
"...In 1471 after the birth of Christ, at the sixth hour on the day of St. Prudentius on Tuesday in the week of the Holy Cross (May 21), my wife Barbara gave birth to me my second son, whose godfather was Anton Koberger and named him in honor of me Albrecht"

This is how the date went down in history 21 May 1471, when the great German artist, painter and graphic artist, art theorist, who earned worldwide fame, was born in Nuremberg.

Then Sebald, Jerome, Anton, and twins were born - Agnes and Margarita. The mother almost died in childbirth, and they barely had time to christen one girl before she died. After the twins, Ursula, Hans, another Agnes, Peter, Katharina, Endres, another Sebald, Christina, Hans, Karl were born. Eighteen children! The Durers invited good acquaintances and friends to be godparents to their children. Among them are a merchant and amateur astronomer, a tax collector on wine and beer, and a judge. And Albrecht Jr.’s godfather, Anton Koberger, was a famous printer. Everyone whom the Durers invited to be godparents to their children were influential people who could provide patronage to their godchildren in the future, but only those were born weak, got sick a lot, and died in childhood or youth. Only three brothers lived to adulthood - Albrecht, Andrei and Hans. But the family has always been big. The wife was exhausted by pregnancy, frequent childbirth, illness of children, sleepless nights, and difficult housekeeping. What kind of hearth should there be to feed a family, apprentices and students, what kind of table is needed to seat everyone at it! What did it cost to dress and put on shoes for so many children! And the father wanted not only to feed them, but also to teach them to read and write, to give his sons a reliable craft, to pave the way for them so that it would be easier than his own path.

The father tried to get his son interested in jewelry making. In 1484, Albrecht Durer the Younger was still a boy. He stopped going to school, where he had studied for several years. He is an apprentice in his father's workshop. Getting used to it. Although at first it was very difficult. Throughout Kuznetsov Lane in the morning, the sound of hammers can be heard, bellows sigh hoarsely, files grind, apprentices sing quietly and sadly. Smells like burning coal, metal oxide, acid.

"...But my father found special consolation in me, for he saw that I was diligent in my studies. Therefore, my father sent me to school, and when I learned to read and write, he took me from school and began to teach me a craft goldsmiths.

There were jobs in the workshop that left him indifferent, while others he did willingly. But none of them even remotely evoked the same feeling as the touch of pencil to paper. He could not explain this feeling in words, but he was also unable to escape from its captivity. He knew that his father might get angry, but he did not return to his lesson. He was drawing. I drew myself.

Durer. Self-portrait at the age of thirteen.
...On a rectangular sheet of thick, rough paper, the boy depicted himself half-turned. When you look at this self-portrait, you feel that it was drawn by a hand that has taken a pencil more than once. The drawing was made almost without corrections, immediately and boldly. The face in the portrait is serious and concentrated. In the softness of his features he resembles his father. The appearance is very young, perhaps you wouldn’t give it to a boy of thirteen years old. He has childishly plump lips, smoothly contoured cheeks, but not childishly intent eyes. There is a certain strangeness in the gaze: it seems that it is turned inward. Silky curly hair covers the forehead and ears, falling to the shoulders. There is a thick cap on the head. The boy is wearing a simple jacket. A hand sticks out from a wide sleeve - a fragile wrist, long thin fingers. It is not clear from them that this hand is already accustomed to holding pliers, a file, a hammer, or a graver.

The boy did not think about the fact that he undertook to draw a self-portrait - an unusual task for that time. He didn't expect it to be easy, but he wasn't afraid that it would be difficult either. What he did was necessary and natural for him. Like breathing. He felt this when he tried to draw for the first time, and retained this feeling throughout his life. He worked with a silver pencil. A compressed stick of silver powder is applied to the paper in a soft stroke. But the stroke cannot be erased or corrected - the artist’s hand must be firm. Perhaps the childish seriousness and concentration on his face are due to the difficulty of an almost impossible task. Albrecht Durer Jr. handled it amazingly.

Several decades later, a child’s drawing caught the eye of the master. He did not laugh at it as an immature experience, but wrote in the upper right corner: "It was I who drew myself in the mirror in 1484, when I was still a child. Albrecht Dupép." These words convey the tenderness of an adult for his own, long-dead childhood, the respect of a master for one of his first experiences.

"...And when I had already learned to work purely, I had more desire for painting than for goldsmithing. I told my father about this, but he was not at all happy, since he was sorry for the lost time that I spent on learning goldsmithing skills. Nevertheless, he yielded to me, and when they counted the year 1486 from the birth of Christ, on the day of St. Endres [St. Andrew, November 30], my father agreed to give me as an apprentice to Michael Wolgemuth, so that so that I served with him for three years. At that time, God gave me diligence, so I studied well.

After three years of study, Dürer went on a journey through the cities of the Upper Rhine (from 1490 to 1494), which is mandatory for obtaining the title of master.
Before returning to Nuremberg, his father got him a bride - Agnes Frei, who came from a noble family of bankers - financial representatives of the Medici in Germany. Agnes Frey is the daughter of Hans Frey, a coppersmith, mechanic, and musician.

"...and for four years I was away from home, until my father demanded me again. And after I left in 1490 after Easter, I returned, when they counted the year 1494, after Trinity. And when I returned home again, I made an agreement with my father Hans Frey gave his daughter, a girl named Agnes, for me, and gave me 200 guilders for her, and they got married on Monday before Margaret in 1494.

Apparently, the portrait of Agnes - a quick pen drawing - dates back to these days. The picture shows a girl in a house dress and an apron. She hastily combed her hair - strands of hair are falling out of her braid and her face does not seem beautiful - however, each century has its own ideas about female beauty. Propping herself up with her hand, she dozed off - she must have been busy: there was a lot to do before the wedding. The groom went into the house of his future father-in-law. Carefully combed, smartly dressed, with a gift for the bride, Albrecht Durer opened the door to the house and took Agnes, who had dozed off, by surprise. This is how he drew her. The fleeting sketch did not flatter the bride. After hesitating, as if checking himself to see how these short words sound and mean, he wrote under the picture: “My Agnes.” In the entire history of their long marriage, these are the only tender words written by Dürer about his wife.

Then, in the same year, he took a trip to Italy, where he became acquainted with the works of Mantegna, Polaiolo, Lorenzo di Credi and other masters. In 1495, Dürer returned to his hometown again and over the next ten years created a significant part of his engravings, which have now become famous.

The year 1500 was approaching.

Round dates always make a special impression on people, and this one was mesmerizing. It was impossible to imagine that such a year would be no different from the previous and subsequent ones. People were relieved that the end of the world had not come. But they continued to think that the year 1500 meant some kind of milestone.

Self-portrait. 1500
No, it is no coincidence that it was in this year that Dürer created a new self-portrait - one of the most amazing in his work, and, perhaps, in the art of European self-portrait in general.

Dürer attached special significance to this portrait. He not only marked it with his monogram, but provided it with a Latin inscription:

"I, Albrecht Durer, a Nuremberger, painted myself in eternal colors..."

The letters are written in gold paint; they echo the golden flashes in the hair and emphasize the solemnity of the portrait.
Until recently, German artists did not sign their works: modest obscurity was their lot. Dürer unfolds his signature in several lines in solemn gold letters. Places these lines in the most prominent place in the picture. Paintings filled with the spirit of proud self-affirmation, assertion of oneself as an individual and as an artist, which for him is inseparable from one another. It is not easy, not easy, to communicate with a man of such great pride and so convinced of his right to it, with such an all-penetrating gaze.

In 1503-1504, Dürer created wonderful watercolor sketches of animals and plants, of which the most famous is “A Large Piece of Turf” (1503, Vienna, Kunsthistorisches Museum). Painted in varying shades of green, the plants are depicted with unparalleled care and precision.

A large piece of turf. 1503

Young hare. 1502.

Returning to Nuremberg, Dürer continued to engage in engraving, but paintings occupied a more important place among his works of 1507-1511.

Adoration of the Holy Trinity (Landauer Altar). 1511
This amazing sparkling painting, one of Dürer’s most solemn, “pathetic” works, was painted by order of the merchant M. Landauer. The Holy Trinity is depicted here on the central axis (the Holy Spirit in the form of a dove, God the Father crowned, and the crucified Christ).
Around are placed characters worshiping the Trinity, divided into four groups: at the top left - the martyrs, led by the Mother of God; top right - prophets, prophetesses and sibyls led by John the Baptist; bottom left - church leaders led by two popes; bottom right - the laity, led by the emperor and king.
At the bottom edge of the picture we see a landscape with a lake. The lone figure on its shore is Durer himself.

If in 1507–1511 Dürer was mainly engaged in painting, then the years 1511–1514 were devoted mainly to engraving.
In 1513-1514 he created his three most famous sheets: “The Knight, Death and the Devil”; "St. Jerome in the Cell" and "Melancholia I".

Knight, death and the devil. 1513
In the first of these, a Christian knight rides through mountainous terrain, accompanied by Death with an hourglass and the devil. The image of the knight arose, perhaps, under the influence of Erasmus of Rotterdam’s treatise “Manual of the Christian Warrior” (1504). The knight is an allegory of active life; he accomplishes his feats in the fight against death.

St. Jerome in his cell. 1514
The leaf "St. Jerome in the Cell", on the contrary, is an allegorical depiction of the contemplative lifestyle. The old man sits at the music stand in the back of the cell; a lion stretches out in the foreground. Light pours through the windows into this peaceful, cozy home, but symbols reminiscent of death also invade here: a skull and an hourglass.

Melancholia I. 1514
The engraving "Melancholy I" depicts a winged female figure sitting among disorganized instruments and utensils.

Four Apostles. 1526
“The Four Apostles” is Durer’s last painting, his spiritual testament to his contemporaries and descendants. The fifty-five-year-old artist felt that his strength was running out, and decided to make a farewell gift to his hometown of Nuremberg.
This work was created in 1526, shortly after Nuremberg officially accepted the Reformation.

By depicting the three apostles and the evangelist, Dürer wanted to give his fellow citizens a new moral guideline and a high example to follow. The artist tried to express his ideas about this landmark with all possible clarity.
In a letter to the City Council, the master wrote that in this work he “I put more effort into it than into any other painting.”
By efforts, Dürer meant not only the artist’s work itself, but also the diligence with which he sought to convey to the audience the religious and philosophical meaning of the work. It seemed to Dürer that painting alone was not enough for this, and he supplemented it with the words: there are inscriptions along the bottom of both boards.
The artist himself formulated his parting words to his fellow citizens as follows:
“In these dangerous times, let earthly rulers beware lest they mistake human errors for the Divine word.”
Dürer supported his own thoughts with carefully selected quotes from the New Testament - statements of the disciples and followers of Christ depicted by him: these are the warnings of the apostles John and Peter against false prophets and false teachers; the words of Paul, who predicted a time when the dominance of proud and arrogant people would come, and, finally, the famous statement of the Evangelist Mark “Beware of the scribes.”
It is significant that the Gospel texts are quoted from the Bible, translated by Luther in 1522 into German. The inscriptions in a magnificent Gothic font were made at the request of Dürer by his friend, the famous calligrapher Johann Neudörfer.

In the last years of his life, Dürer published his theoretical works: “Guide to measuring with compasses and rulers” (1525), “Instructions for strengthening cities, castles and fortresses” (1527), “Four books on human proportions” (1528). Dürer had a huge influence on the development of German art in the 1st half of the 16th century. In Italy, Dürer's engravings were so successful that they even produced counterfeits; Many Italian artists, including Pontormo and Pordenone, were directly influenced by his engravings.

Albrecht Dürer died suddenly at the fifty-seventh year of his life - April 6, 1528 - and was buried in the city cemetery of St. John in Nuremberg. After his death, he left several hundred engravings and more than sixty paintings.

The work of this master was of great importance for the development of German art in the first half of the 16th century. For all of Dürer’s very extensive and significant contribution to the development of the art of his country, his main merit is the establishment of realistic principles in German painting and engraving of the 16th century.

Materials were used from the wonderful book of Sergei Lvovich Lvov -

04/10/2017 at 17:26 · Pavlofox · 17 380

The most famous paintings of Albrecht Durer

Albrecht Dürer was born into a large family of a jeweler; he had seventeen brothers and sisters. In the 15th century, the profession of a goldsmith was considered very respectful, so the father tried to teach his children the craft in which he practiced. But Albrecht’s talent for art manifested itself at a fairly early age, and his father did not dissuade him; on the contrary, at the age of 15 he sent his son to the famous Nuremberg master Michael Wolgemut. After 4 years of studying with the master, Dürer went to travel and at the same time painted his first independent painting, “Portrait of the Father.” During his travels, he honed his skills with different masters in different cities. Let's consider the most famous paintings of Albrecht Durer, recognized by the international community.

10.

This painting by Dürer caused a lot of condemnation, both from the artist’s contemporaries and from modern art critics. It's all about the pose in which the author drew himself and the hidden message conveyed through the details. At the time of the artist, only saints could be painted in frontal view or close to it. The holly in the artist’s hand is a reference to the crown of thorns, which was placed on the head of Christ at the crucifixion. The inscription at the top of the canvas reads “My affairs are determined from above,” this is a reference to the author’s devotion to God, and that all his achievements at this stage of life are with the blessing of God. This painting, stored in the Louvre, is assessed as having made certain changes in the human worldview.

9.

With age, Dürer went even further in reflecting his experiences on canvas. For this impudence, his contemporaries harshly criticized the artist. On this canvas he painted his self-portrait from the front. Whereas even more recognized contemporaries could not afford such audacity. In the portrait, the author looks strictly ahead and holds his hand in the middle of his chest, which is typical for reflections of Christ. Ill-wishers found all the similarities in Durer’s painting and reproached him for comparing himself with Christ. Looking at the picture, some may agree with the critics, while others may see something more. There are no objects that attract attention in the picture, which forces the viewer to focus on the image of a person. Those who have seen the picture consider the range of feelings on the face and image of the person depicted.

8.

The portrait, painted in 1505, is considered a Venetian-inspired work by Dürer. It was during this period that he stayed in Venice for the second time and honed his skills with Giovanni Bellini, with whom he eventually became friends. It is not known who is depicted in the portrait; some suggest that it is a Venetian courtesan. Since there is no information about the artist’s marriage, there are no other versions about the person who posed. The painting is kept at the Kunsthistorisches Museum in Vienna.

7.

The painting was commissioned by Dürer's patron for the Church of All Saints in Wittenberg. Because of the presence in the church of the relics of some of the ten thousand martyrs. The religious story familiar to many believers, about the beating of Christian soldiers on Mount Ararat, is reflected in every detail. In the center of the composition, the author drew himself with a flag on which he wrote the time of writing and the author of the painting. Next to him is painted Dürer’s friend, the humanist Konrad Celtis, who died before the painting was completed.

6.

Durer's most recognizable painting was painted for the Church of San Bartolomeo in Italy. The artist painted this picture for several years. The picture is full of bright colors, as this trend was becoming popular at that time. The painting is named so because of the subject reflected in it, Dominican monks who used rosaries in their prayers. In the center of the picture is the Virgin Mary with the baby Christ in her arms. Surrounded by worshippers, including Pope Julian the Second and Emperor Maximilian the First. Child - Jesus distributes wreaths of roses to everyone. Dominican monks used rosaries of strictly white and red colors. White symbolizes the joy of the Virgin Mary, red the blood of Christ at the crucifixion.

5.

Another very famous painting by Durer was copied many times, printed on postcards, stamps and even coins. The history of the painting is striking in its symbolism. The canvas depicts not just the hand of a pious man, but Dürer’s brother. Even in childhood, the brothers agreed to take turns painting, since fame and wealth from this craft do not come immediately and not to everyone, one of the brothers had to ensure the existence of the other. Albrecht was the first to take up painting, and when it was his brother’s turn, his hands had already become unaccustomed to painting, he could not paint. But Albrecht's brother was a pious and humble man, he was not upset with his brother. These hands are reflected in the picture.

4.

Dürer depicted his patron several times in different paintings, but the portrait of Maximilian the First became one of the world-famous paintings. The emperor is depicted, as befits monarchs, with rich robes, an arrogant look, and the picture reeks of arrogance. As in other paintings of the artist, there is a peculiar symbol. The Emperor holds in his hand a pomegranate, a symbol of abundance and immortality. A hint that it is he who provides the people with prosperity and fertility. The grains visible on a peeled piece of pomegranate are a symbol of the versatility of the emperor’s personality.

3.

This engraving by Durer symbolizes a person's path through life. A knight dressed in armor is a man protected by his faith from temptation. Death walking nearby is depicted with an hourglass in his hands, indicating the outcome at the end of the allotted time. The devil walks behind the knight, depicted as some kind of pitiful creature, but ready to attack him at the slightest opportunity. It all comes down to the eternal struggle between good and evil, strength of spirit in the face of temptation.

2.

Durer's most famous engraving of his 15 works on the theme of the Biblical apocalypse. The four horsemen are Victory, War, Famine and Death. The hell that follows them is depicted in the engraving in the form of a beast with an open mouth. As in the legend, the horsemen rush, sweeping away everyone in their path, both poor and rich, kings and ordinary people. A reference to the fact that everyone will receive what they deserve, and everyone will answer for their sins.

1.

The painting was painted during Dürer's return from Italy. The painting intertwines German attention to detail and the colorfulness and brightness of colors characteristic of the Italian Renaissance. The attention to lines, mechanical subtleties and details references the sketches of Leonardo Da Vinci. In this world-famous painting, the scene described in great detail in Biblical tales, transferred in paint to canvas, leaves the impression that this is exactly how it happened.

What else to see:

The artist's future father came to Germany from the small Hungarian village of Eitas in 1455. He decided to settle in the progressive, business and wealthy city of Germany at that time - Nuremberg, which was part of Bavaria.

View of Nuremberg. Schedel's World Chronicle, 1493

In 1467, when he was already about 40 years old, he married the young daughter of goldsmith Hieronymus Holper. At that time, Barbara was only 15.

Portraits of his father - Albrecht Durer the Elder, 1490 and 1497.

Their brilliant son was born in Nuremberg on May 21, 1471 and was the third child in the family. In total, Barbara Dürer gave birth to 18 children during her marriage. Albrecht was lucky - he was one of those three boys who lived to adulthood. He did not have any children of his own, like his two brothers Endres and Hans.

The father of the future artist worked as a jewelry maker. His name was also Albrecht Dürer (1427–1502). The mother took care of the house, diligently attended church, gave birth a lot and was often sick. Some time after the death of her father, Barbara Durer moved to live with Albrecht the Younger. She helped in the implementation of her son's work. She died in his house on May 17, 1514 at the age of 63. Dürer spoke respectfully of his parents as great workers and pious people.

Portraits of mother - Barbara Durer (nee Holper), 1490 and 1514.

The creative and life path of Albrecht Durer

Albrecht Dürer is the largest painter and unsurpassed engraver not only in Germany, but also in all Western European art of the Renaissance in Northern Europe. He possessed a unique technique of carved copper engraving.

What was the path that led Dürer to such high recognition?

The father wanted his son to continue his business and become a jeweler. From the age of eleven, Dürer the Younger studied in his father’s workshop, but the boy was attracted to painting. As a thirteen-year-old teenager, he created his first self-portrait using a silver pencil. The technique of working with such a pencil is very difficult. The lines drawn by him cannot be corrected. Dürer was proud of this work and later wrote: “I painted myself in a mirror in 1484, when I was still a child. Albrecht Durer." Moreover, he made the inscription in a mirror image.

Self-portrait of Albrecht Durer, 1484

Dürer the Elder had to yield to the interests of his son. At the age of fifteen, the young man, under an agreement between his father and the hereditary Nuremberg artist Mikael Wolgemut, entered his workshop to study. From Wolgemut he studied both painting and wood engraving, and helped create stained glass windows and altar images. After completing his studies, Dürer went on a journey as an apprentice to get acquainted with the experience of masters from other regions, improve his skills and broaden his horizons. The trip lasted from 1490 to 1494 - during his so-called “wonderful years” of formation as a young artist. During this time he visited cities such as Strasbourg, Colmar and Basel.

He is looking for his own artistic style. Since the mid-1490s, Albrecht Dürer has designated his works with the initials "AD".

He perfected the technique of copper engraving in Colmar with the three brothers of the famous master Martin Schongauer. He himself was no longer alive. Then Dürer moved to the fourth Schongauer brother in Basel, one of the then book printing centers.

In 1493, during his student journey, Dürer the Younger created another self-portrait, this time painted in oil, and sent it to Nuremberg. He depicted himself with a thistle in his hand. According to one version, this plant symbolized fidelity to Christ, according to another, male fidelity. Perhaps with this portrait he presented himself to his future wife and made it clear that he would be a faithful husband. Some art historians believe that this portrait was a gift to the bride.

Self-portrait with a thistle, 1493. Dürer is 22 years old.

After this, Albrecht returned to Nuremberg to get married. The father arranged a marriage with the daughter of a wealthy local merchant. On July 7, 1494, the wedding of Albrecht Dürer and Agnes Frey took place.

Portrait of Durer's wife, "My Agnes", 1494

Some time after the marriage, another trip followed along a longer route. This time through the Alps to Venice and Padua. There he gets acquainted with the work of outstanding Italian artists. Makes copies of engravings by Andrea Mantegna and Antonio Pollaiuolo. Albrecht is also impressed by the fact that in Italy artists are no longer considered simple artisans, but have a higher status in society.

In 1495 Dürer set off on his return journey. Along the way, he paints landscapes in watercolors.

Returning home from Italy, he can finally afford to have his own workshop.

Over the next few years, his painting style reflected the influence of Italian painters. In 1504 he painted the canvas “The Adoration of the Magi.” This painting is today considered one of the most outstanding paintings by Albrecht Dürer from 1494 to 1505.

From 1505 to mid-1507 he visited Italy again. Visited Bologna, Rome and Venice.

In 1509, Albrecht Dürer purchased a large house in Nuremberg and spent almost twenty years of his life in it.

In July 1520, the artist traveled to the Netherlands, taking his wife Agnes with him. He visits the ancient centers of Dutch painting - Bruges, Brussels, Ghent. Everywhere he makes architectural sketches, as well as sketches of people and animals. Meets other artists, meets the greatest scientist Erasmus of Rotterdam. Dürer has long been famous and is received everywhere with respect and honor.

In Aachen, he witnesses the coronation of Emperor Charles V. Later he meets with him to extend the privileges previously received from the previous Emperor Maximilian I, whose orders he carried out.

Unfortunately, during his trip to the Netherlands, Dürer contracted an “amazing disease,” presumably malaria. He is tormented by attacks and one day he sends the doctor a drawing with his image, where he points with his finger at the painful place. The drawing is accompanied by an explanation.

Engravings by Albrecht Durer

Among his contemporaries, Albrecht Dürer made a name for himself primarily by creating engravings. His masterly works are distinguished by their large size, subtle and precise drawing, grasp of characters, and complex composition. Dürer perfectly mastered the technique of engraving both on wood and copper. From start to finish, the artist performs all work on creating engravings himself, incl. carvings with unprecedented detail and fine lines. At the same time, he uses tools made according to his own drawings. He makes numerous prints, circulations of which are widely distributed throughout Europe. So he became a publisher of his works. His prints were widely known, very popular and sold well. His prestige was significantly strengthened by the series of engravings “Apocalypse” published in 1498.

Dürer’s masterpieces are recognized as “Master Engravings”: in 1513 he carved a copper engraving “Knight, Death and the Devil”, and in 1514 as many as two: “St. Jerome in the Cell” and “Melancholy”.

Perhaps the most famous image of a rhinoceros is the so-called “Dürer’s Rhinoceros”, created in 1515. He himself did not see this animal, outlandish for Germany. The artist imagined his appearance from descriptions and other people's drawings.

"Dürer's Rhinoceros", 1515

Albrecht Durer's Magic Square

In 1514, as indicated above, the master created the engraving “Melancholy” - one of his most mysterious works. The image is filled with a lot of symbolic details that still give room for interpretation.

In the upper right corner Dürer carved a square with numbers. Its peculiarity is that if you add numbers in any direction, the resulting amounts will always be equal to 34. The same figure is obtained by counting the numbers in each of the four quarters; in the middle quadrangle and when adding numbers from cells in the corners of a large square. And in the two central cells of the bottom row, the artist wrote the year of creation of the engraving - 1514.

Engraving "Melancholy" and Durer's magic square,1514

Durer's drawings and watercolors

In one of his early landscape watercolors, Dürer depicted a mill and a drawing workshop on the banks of the Pegnitz River, in which copper wire was made. Across the river are villages in the vicinity of Nuremberg, with the mountains blue in the distance.

Drawing mill on the Pegnitz River, 1498

One of the most famous drawings, “The Young Hare,” was drawn in 1502. The artist indicated the date of its creation and put his initials “AD” directly under the image of the animal.

In 1508, he painted his own hands folded in prayer using white on blue paper. This image is still most often reproduced and even translated into a sculptural version.

Hands in prayer, 1508

According to experts, more than 900 drawings by Albrecht Dürer have been preserved to this day.

Dürer, proportions and nudity

Dürer was captivated by the desire to find the ideal proportions of the human figure. He carefully examines people's naked bodies. In 1504 he created the outstanding copper engraving “Adam and Eve”. To depict Adam, the artist takes as a model the pose and proportions of the marble statue of Apollo Belvedere. This ancient statue was found at the end of the 15th century in Rome. The idealization of proportions distinguishes Dürer's work from the then accepted medieval canons. In the future, he still preferred to depict real forms in their diversity.

In 1507 he wrote a pictorial diptych on the same theme.

He became the first German artist to depict naked people. In Weimar Castle there is a portrait of Dürer, in which he depicted himself as openly as possible, completely naked.

Self-portrait of a naked Dürer, 1509

Self-portraits

Albrecht Dürer painted self-portraits from his boyhood until old age. Each of them has its own zest, and often innovation. The self-portrait, which shocked the contemporary artist's audience, was painted in 1500. In it, 28-year-old Albrecht appears in a daring image, because he resembles an image of Christ himself.

Self-portrait, 1500. Durer is 28 years old.

In addition, the portrait is painted from the front. At that time, this pose was used to paint images of saints, and secular portraits in Northern Europe were created in a three-quarter turn of the model. This portrait also reveals the artist’s ongoing search for ideal proportions.

The death of Albrecht Durer and his memory

The artist died in his Nuremberg home on April 6, 1528, a month and a half short of his 57th birthday. His passing was a huge loss not only for Germany, Albrecht Dürer was mourned by all the great minds of Europe at that time.

He was buried in St. John's Cemetery in Nuremberg. His lifelong friend, the German humanist Willibald Pirkheimer, wrote for the tombstone: “Under this hill lies what was mortal in Albrecht Dürer.”

Albrecht Durer's tombstone

The Albrecht-Dürer-Haus museum has been operating in Dürer's house since 1828.

Video on the topic

Sources:

• Book: Durer. S. Zarnitsky. 1984.
• "German engraving"

Albrecht Dürer (1471 - 1528) was a great German artist and graphic artist. He left behind a rich heritage: paintings, engravings, treatises. Dürer improved the art of woodcut printing and wrote works on the theory of painting. No wonder he is called the “Leonardo da Vinci of the North.” Dürer's works have high universal value, on a par with the work of the geniuses of the Italian Renaissance.

Biography

Youth

Albrecht Durer, the artist’s father, came to Nuremberg from Hungary. He was a jeweler. At the age of 40, he married 15-year-old Barbara Holper. The couple had 18 children, but only 4 children survived to adulthood. Among them was Albrecht the Younger, the future great artist, who was born on May 21, 1471.

Little Albrecht went to a Latin school, where he learned to read and write. At first he learned the art of jewelry from his father. However, the boy showed a talent for drawing, and his father, reluctantly, sent him to study with the famous German artist Michael Wolgemut. There the young man learned not only to paint, but also to make engravings.

After completing his studies, in 1490, Dürer went on the road to gain experience from other masters. For 4 years he visited Strasbourg, Basel, Colmar. During the trip, Albrecht studied with the sons of the famous engraver Martin Schongauer.

In 1493, Dürer married Agnes Frey. It was a marriage of convenience; Albrecht’s wife was picked up by his father while his son was visiting Strasbourg. The marriage turned out to be childless and not entirely happy, but the couple lived together until the end. After his marriage, Albrecht Durer was able to open his own workshop.

Italy

The German artist went to Italy for the first time in 1494. He lived in Venice for about a year and also visited Padua. There he first saw the work of Italian artists. Upon returning home, Albrecht Durer became a famous master. His engravings brought him especially great fame. After the death of his father in 1502, Albrecht took care of his mother and brothers.

In 1505, the artist again traveled to Italy to deal with local plagiarists copying his engravings. He lived in Venice, which Albrecht loved, for two years, studying the Venetian school of painting. Dürer was especially proud of his friendship with Giovanni Bellini. He also visited cities such as Rome, Bologna, Padua.

Patronage of Maximilian I

Upon returning from Italy, Dürer bought a large house, which has survived to this day. Now there is a museum of the artist there.

At the same time, he was a member of the Great Council of Nuremberg. The master works a lot on art commissions and engravings.

In 1512, Emperor Maximilian I took the artist under his patronage. Dürer made several orders for him. Instead of payment for work, the emperor awarded the artist an annual pension. The city of Nuremberg had to pay it out of money transferred to the state treasury. However, after the death of Maximilian I in 1519, the city refused to pay Dürer's pension.

Trip to the Netherlands

Albrecht Dürer's diary describes in detail the trip to the Netherlands that he made with his wife in 1520 - 1521. During this trip, Dürer became acquainted with the work of local artists. He was already quite famous, and he was warmly received and honored everywhere. In Antwerp they even offered him to stay, promising him a salary and a house. In the Netherlands, the master met Erasmus of Rotterdam. Local aristocrats, scientists, and wealthy bourgeoisie willingly host him.

Dürer undertook such a long trip in order to confirm his rights to a pension from Charles V, who became the new Emperor of the Holy Roman Empire. The artist attended his coronation in Aachen. Charles V granted Dürer's request. In 1521 the master returned home to his native Nuremberg.

In the Netherlands, Dürer contracted malaria. The disease tormented him for 7 long years. The great artist died on April 6, 1528. He was 56 years old.

Albrecht Durer's legacy

Painting

In painting, Dürer was as versatile as in his other activities. He painted altar images, biblical scenes, and portraits that were traditional for that time. Acquaintance with Italian masters had a great influence on the artist. This is especially noticeable in paintings made directly in Venice. However, Dürer does not lose his originality. His work is a fusion of German tradition and the humanistic ideals of the Italian Renaissance.

Altar images and paintings based on biblical scenes

The work of the artist of the 15th - 16th centuries was unthinkable without Christian subjects. And Albrecht Durer is no exception. He painted a number of Madonnas (“Madonna with a Pear”, “Nursing Madonna”, “Madonna with a Carnation”, “Madonna and Child with Saint Anne”, etc.); several altar images (“Feast of the Rosary”, “Adoration of the Holy Trinity”, “Dresden Altar”, “Seven Sorrows of the Virgin Mary”, “Jabach Altar”, “Paumgartner Altar”, etc.), paintings on biblical themes (“Four Apostles” , “Saint Jerome”, “Adam and Eve”, “Adoration of the Magi”, “Jesus among the scribes”, etc.).

The master’s works from the “Italian period” are distinguished by the brightness and transparency of colors and the smoothness of lines. Their mood is lyrical and bright. These are works such as “The Feast of the Rosary”, the diptych “Adam and Eve”, “The Adoration of the Magi”, “The Paumgartner Altar”, “Madonna and the Siskin”, “Jesus among the Scribes”.

The first in Germany, Dürer tries to create harmonious proportions based on the knowledge of antiquity. These attempts were embodied primarily in the diptych “Adam and Eve”.

In more mature works, drama is already evident, multi-figure compositions appear (“Martyrdom of Ten Thousand Christians”, “Adoration of the Holy Trinity”, “Virgin and Child and Saint Anne”).

Dürer was always a God-fearing man. During the spread of the Reformation, he sympathized with the ideas of Martin Luther and Erasmus of Rotterdam, which to some extent affected his works.

Dürer donated his last large-scale work, the diptych “The Four Apostles” to his hometown. Monumental images of the apostles are shown as the ideal of Reason and Spirit.

Self-portraits

In German painting, Dürer was a pioneer in the genre of self-portrait. In this art he surpassed his contemporaries. Self-portrait for Dürer was a way to hone his skills and leave a memory of himself for posterity. Dürer is no longer a simple artisan, as artists of that time were considered. He is an intellectual, a master, a thinker, constantly striving for perfection. This is what he tries to show in his images.

Albrecht Dürer painted his first self-portrait as a boy at the age of 13. He was very proud of this drawing, made with an Italian silver pencil that cannot be erased. This portrait was taken before he began studying with Michael Wolgemut and shows the extent of little Albrecht's talent.

At the age of 22, the artist painted a self-portrait with a thistle in oil. This was the first independent self-portrait in European painting. Perhaps Albrecht painted the picture to give it to his future wife Agnes. Dürer depicted himself in smart clothes, his gaze turned to the viewer. On the canvas there is the inscription “My deeds are determined from above”; in the hands of a young man is holding a plant, the name of which in German sounds like “male fidelity”. On the other hand, the thistle was considered a symbol of the suffering of Christ. Perhaps this is how the artist wanted to show that he was following his father’s will.

Five years later, Dürer creates his next self-portrait. During this time, the artist becomes a sought-after master; he is known far beyond the borders of his native country. He has his own workshop. He has already managed to travel to Italy. This can be seen in the picture. Albrecht depicts himself against the background of a landscape, in a fashionable Italian outfit, with expensive leather gloves on his hands. He is dressed like a nobleman. Confidently, with a sense of self-esteem, he looks at the viewer.

Then in 1500 Albrecht Dürer painted the following self-portrait in oils wearing fur clothing. Traditionally, models were depicted from a three-quarter perspective. Saints or royalty were usually painted from the frontal view. Dürer was an innovator here too, depicting himself completely facing the viewer. Long hair, an expressive look, an almost blessing gesture of an elegant hand fingering the fur on rich clothes. Dürer consciously identifies himself with Jesus. At the same time, we know that the artist was a God-fearing Christian. The inscription on the canvas reads “I, Albrecht Dürer from Nuremberg, created myself in eternal colors at the age of 28.” “He created himself with eternal colors” - these words indicate that the artist likens himself to the Creator, putting man on the same level as God. Becoming like Christ is not pride, but the duty of a believer. Life must be lived with dignity, enduring hardships and difficulties. This is the master’s life credo.

Dürer often depicted himself in his paintings. At that time, many artists used this technique. His images are known in the works: “Feast of the Rosary”, “Adoration of the Trinity”, “Altar of Yabach”, “The Torment of Ten Thousand Christians”, “Geller Altar”.

Albrecht Dürer left behind many self-portraits. Not all of them have reached us, but enough of them have survived to form an opinion about the image of the master at different moments of his life.

Portraits

Albrecht Durer was a famous portrait painter of his time. Kings and patricians ordered their images from him. He also enjoyed painting his contemporaries - friends, clients, and simply strangers.

The first portraits he created were of his parents. They date back to 1490. Dürer spoke of his parents as hardworking and God-fearing people, and that’s how he painted them.

For the artist, portraits were not only an opportunity to earn money, but also a chance to express himself in society. Albrecht Dürer's models were Emperor Maximilian I, Frederick III of Saxony, and Christian II of Denmark. In addition to the greats of this world, Durer painted merchants, representatives of the clergy, humanist scientists, etc.

Most often, the artist depicts his models from the waist up, in a three-quarter spread. The gaze is directed towards the viewer or to the side. The background is chosen so as not to distract from the person’s face; very often it is an inconspicuous landscape.

In his portraits, Dürer combines the detail of German traditional painting and the focus on the inner world of a person, adopted from the Italians.

During his trip to the Netherlands alone, the artist painted about 100 portraits, which indicates his interest in depicting people.

The most famous of his portraits are: a young Venetian woman, Maximilian I, Erasmus of Rotterdam, the emperors Charlemagne and Sigismund.

Drawings and engravings

Engravings

Dürer gained the greatest fame as an unsurpassed engraver. The artist made engravings both on copper and on wood. Dürer's woodcuts differed from his predecessors in their craftsmanship and attention to detail. In 1498, the artist created a series of engravings “Apocalypse”, consisting of 15 sheets. This topic was very relevant by the end of the 15th century. Wars, epidemics, and famine created among the people a premonition of the end of times. “Apocalypse” brought Durer unprecedented popularity, both at home and abroad.

This was followed by a series of engravings “Great Passions” and “Life of Mary”. The master places biblical events in contemporary space. People see familiar landscapes, characters dressed just like them, and compare everything that happens with themselves and their lives. Dürer strove to make art understandable to the common people, while raising the level of artistic skill to unprecedented heights.

His engravings were very popular, they even began to be counterfeited, and therefore Durer made his second trip to Venice.

In addition to series, the artist also works on individual drawings. In 1513 - 1514, three of the most famous engravings were published: “The Knight, Death and the Devil”, “Saint Jerome in the Cell” and “Melancholy”. These works are rightfully considered the crown of the artist’s path as an engraver.

As an engraver, Durer worked in different techniques and genres. After him, about 300 engravings remained. After the master's death, his works were widely replicated until the 18th century.

Drawing

Albrecht Dürer is also known as a talented draftsman. The master's graphic heritage is impressive. With German scrupulousness, he kept all his drawings, thanks to which about 1000 of them have reached us. The artist constantly trained, making sketches and drawings. Many of them have become independent masterpieces. For example, the drawings “Praying Hands”, “Portrait of a Mother”, “Rhinoceros”, etc. are widely known.

Dürer was the first among European artists to widely use watercolor techniques. Watercolor has been known since the 15th century in Europe. These were dry paints that were ground into powder. It was mainly used to decorate books.

There is a well-known series of landscapes made by Dürer in watercolors: “View of Arco”, “Castle in the Alps”, “Castle in Trento”, “View of Innsbruck”, “Courtyard of the Old Castle in Innsbruck”, etc.

Durer’s naturalistic drawings are amazingly detailed: “Young Hare”, “Piece of Turf”, “Iris”, “Violets”, etc.

Scientific treatises and other written sources

Being a man of the Renaissance, Dürer left us not only a huge artistic heritage. Possessing a scientific mindset, he was interested in mathematics, geometry, and architecture. We know that he was familiar with the works of Euclid, Vitruvius, and Archimedes.

In 1515, the artist made engravings depicting the starry sky and a geographical map.

In 1507, Dürer began his work on the theory of painting. These were the first written treatises on this topic. We know the “Guide to Measuring with Compasses and Ruler”, “Four Books on Proportions”. Unfortunately, the master was unable to complete the work of creating a complete guide for beginning artists.

Also in 1527, he created the “Guide to the strengthening of cities, castles and gorges.” The development of firearms, according to the artist, led to the need to build new fortifications.

In addition to scientific works, Dürer left diaries and letters, from which we know a lot about his life and contemporaries.

The Renaissance gave humanity several titans of the spirit - Leonardo da Vinci, Michelangelo, Raphael. In Northern Europe, Albrecht Dürer can undoubtedly be considered such large-scale personalities. The legacy he left is amazing. He became an innovator in many areas of his activity. He managed to combine in his work the humanism of the Italian Renaissance with the power and spiritual strength of German Gothic.

Albrecht Dürer is a German artist whose achievements have left their mark on science and art. He painted pictures, created drawings, engravings. The master was fond of studying geometry and astronomy, philosophy and urban planning. The memory of the talented artist is counted in a large number of works. The volume of heritage left by Albrecht Dürer is comparable to the collections and.

Childhood and youth

The Renaissance figure was born in Nuremberg on May 21, 1471 into a family of Hungarians who migrated to Germany. The German painter is the 3rd child out of 18 children of the jeweler. By 1542, only three Dürer brothers remained alive: Albrecht, Endres and Hans.

In 1477, Albrecht was already a student at the Latin school, and at home he often helped his father. The parent cherished hopes that the boy would continue the family business, but his son’s biography turned out differently. The talent of the future painter became noticeable early. Having received his first knowledge from his father, the boy set out to study with the engraver and painter Michael Wolgemut. Dürer Sr. was not indignant for long and sent Albrecht under the tutelage of his idol.

Wolgemut's workshop had an impeccable reputation and popularity. The 15-year-old boy adopted the skills of painting, drawing and engraving on wood and copper. The debut was “Portrait of a Father.”

From 1490 to 1494, Albrecht traveled throughout Europe, enriching his knowledge and gaining experience. In Colmar, Dürer worked with the sons of Martin Schongauer, whom he did not manage to find alive. Albrecht was a member of the circle of humanists and book printers.

While traveling, the young man received a letter from his father informing him of an agreement with the Frey family. The noble parents agreed to marry their daughter Agnes to Albrecht. He gained a new status and started his own business.

Painting

Dürer's creativity is limitless, as is the range of ideas and interests. Painting, engraving and drawing became the main areas of activity. The artist left a legacy of 900 sheets of images. In terms of the volume and diversity of his works, art critics compare him to Leonardo da Vinci.

Dürer worked with charcoal, pencil, reed pen, watercolor and silver point, focusing on drawing as a stage in creating a composition. Religious themes played a major role in Dürer’s work, which corresponded to trends in the art of that era.

Non-standard thinking, a penchant for searching and experimentation allowed the master to constantly develop. One of the first orders was the painting of the house of townsman Sebald Schreyer. Having learned about the successful work of the artist, the Elector of Saxony, Frederick the Wise, ordered his portrait from him, and the patricians of Nuremberg followed this example. Dürer followed the European tradition, depicting the model against the background of a landscape in a three-quarter spread and working in detail on the smallest nuances of the image.

Engravings occupied a central place in the creator’s activity. Series of works appeared in his workshop in Germany. The debut copies were created with the help of Anton Koberger. Nuremberg was conducive to experimentation and research, so the master applied new techniques in his homeland.

The works sold well. The painter collaborated with city publications, creating custom-made images. In 1498, he produced woodcuts for the publication “Apocalypse,” which brought the author fame in Europe. Dürer was accepted into the society by humanists, whose leader was Kondrat Celtis.

In 1505, the artist created an altar image called “Feast of the Rosary” for the Church of San Bartolomeo in Venice. The plot describes Dominican friars praying with rosaries. In the center of the image is a baby.

The Italian school influenced the painter's style. He perfected the technique of describing the human body in motion and complex angles. The artist understood the importance of flexibility of lines and got rid of the Gothic angularity inherent in his style. He received many orders for altar images. The Venetian Council offered Durer a large reward so that the creator would remain in Italy, but he was loyal to his homeland. Dürer's fame grew quickly and soon allowed him to purchase a house in Zisselgasse.

"The Adoration of the Magi" was written upon his return from Italy and demonstrates features inherent in the Italian Renaissance. The picture describes a biblical story. Dürer's works, created between 1507 and 1511, are distinguished by their symmetry, pragmatism, and strict manner of depiction. Dürer followed the wishes of his customers and adhered to a conservative tradition that did not limit the cycle of his Venetian works.

The meeting with Emperor Maximillian I became significant for the creative figure. Having become acquainted with the artist’s works, the ruler ordered the production of his own portrait. But he couldn’t pay right away, so he awarded the artist an annual bonus. She allowed Dürer to move away from painting and engage in engraving and scientific research. The “Portrait of Maximillian” is known throughout the world: the crowned lady is depicted holding a yellow pomegranate in her hands.

The German artist influenced the visual arts of Northern Europe in the 16th century. He exalted the genre of self-portraiture, preserving the image for posterity. Interesting fact: Dürer indulged his vanity with his own portraits. He perceived such images as a way to emphasize status and capture himself at a specific stage in life. This duplicates modern photo capabilities. His self-portraits with holly and in clothes trimmed with fur are interesting.

Dürer kept the drawings created during his studies, so the master’s graphic works today constitute one of the largest collections in the world. While working on the image, Albrecht Durer was not limited by the wishes of the customer and revealed himself to the maximum. He felt the same freedom when creating prints.

“Knight, Death and the Devil” is the artist’s most famous engraving, symbolizing the path of a person’s life. Faith protects him from temptation, the devil is waiting for the moment to enslave him, and death is counting down the hours until his death. “The Four Horsemen of the Apocalypse” is a work from the biblical cycle. The winner, War, Hunger and Death sweep away everyone and everything on the way, giving everyone what they deserve.

Personal life

In 1494, Albrecht Dürer, at the insistence of his father, married Agnes Frey, a representative of an old family. As often happened in those days, the young people did not see each other until the wedding. The only news from the groom was a self-portrait. Dürer was not a fan of the institution of family and devoted himself to creativity. The wife remained cold to art. Perhaps this is the reason that the master’s personal life is connected exclusively with his works.

Immediately after the wedding, Albrecht left his young wife and went to Italy. He remained emotionless towards his wife throughout their entire life together. Dürer received recognition, acquired status and position in society, but never reached an agreement with Agnes. The union did not produce offspring.

Death

After the death of Maximillian I in 1520, the payment of the Dürer bonus ceased. He undertook a trip to clarify the circumstances and, while in the Netherlands, fell ill.

Biographers suggest that the artist was struck down by malaria. Attacks of illness tormented the painter until his last days. 8 years later, on April 6, 1528, the painter died in his native Nuremberg.

Works

• 1490 - “Portrait of a Father”
• 1490-1493 - “The miraculous rescue of a drowned boy from Bregenza”
• 1493 - “Behold, man”
• 1496 - “Portrait of Frederick III the Wise”
• 1496 - “Saint Jerome in the Desert”
• 1497 - "Four Witches"
• 1498 - "Apocalypse"
• 1500 - “Self-portrait in clothes trimmed with fur”
• 1504 - "Adoration of the Magi"
• 1507 - "Adam and Eve"
• 1506 - “Feast of Rose Wreaths”
• 1510 - “Assumption of the Virgin Mary”
• 1511 - “Adoration of the Holy Trinity”
• 1514 - "Melancholy"
• 1528 - "Hare"