LaurieAnnie's photos with the keyword: Durer

Virgin and Child with Saint Anne probably 1519 Object Details Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: probably 1519 Medium: Oil on linden Dimensions: 23 5/8 x 19 5/8 in. (60 x 49.8 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.633 Dürer traveled to Italy from 1505–7, in particular to Venice where he met Giovanni Bellini. The juxtaposition of the two paintings here by Bellini and Dürer shows their shared interests not only in rich color and meticulous attention to detail, but especially in simplicity of form. Dürer’s haunting devotional painting depicts Saint Anne, who was particularly venerated in Germany, with the Virgin and Child. Anne’s hand on her daughter's shoulder takes on a consolatory meaning, and her distant gaze suggests a premonition of Christ's Passion. Although this panel’s date and monogram were added later, the picture was likely painted in that year. Text from: www.metmuseum.org/art/collection/search/436244

Virgin and Child with Saint Anne probably 1519 Object Details Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: probably 1519 Medium: Oil on linden Dimensions: 23 5/8 x 19 5/8 in. (60 x 49.8 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.633 Dürer traveled to Italy from 1505–7, in particular to Venice where he met Giovanni Bellini. The juxtaposition of the two paintings here by Bellini and Dürer shows their shared interests not only in rich color and meticulous attention to detail, but especially in simplicity of form. Dürer’s haunting devotional painting depicts Saint Anne, who was particularly venerated in Germany, with the Virgin and Child. Anne’s hand on her daughter's shoulder takes on a consolatory meaning, and her distant gaze suggests a premonition of Christ's Passion. Although this panel’s date and monogram were added later, the picture was likely painted in that year. Text from: www.metmuseum.org/art/collection/search/436244

Adam and Eve, 1504 Albrecht Dürer (German, 1471–1528) Engraving 9 7/8 x 7 7/8 in. (25.1 x 20 cm) Fletcher Fund, 1919 (19.73.1) Under the influence of Italian theory, Dürer became increasingly drawn to the idea that the perfect human form corresponded to a system of proportion and measurements. Near the end of his life, he wrote several books codifying his theories: the Underweysung der Messung (Manual of measurement), published in 1525, and Vier Bücher von menschlichen Proportion (Four books of human proportion), published in 1528, just after his death. Dürer's fascination with ideal form is manifest in Adam and Eve. The first man and woman are shown in nearly symmetrical idealized poses: each with the weight on one leg, the other leg bent, and each with one arm angled slightly upward from the elbow and somewhat away from the body. The figure of Adam is reminiscent of the Hellenistic Apollo Belvedere, excavated in Italy late in the fifteenth century. The first engravings of the sculpture were not made until well after 1504, but Dürer must have seen a drawing of it. Dürer was a complete master of engraving by 1504: human and snake skin, animal fur, and tree bark and leaves are rendered distinctively. The branch Adam holds is of the mountain ash, the Tree of Life, while the fig, of which Eve has broken off a branch, is the forbidden Tree of Knowledge. Four of the animals represent the medieval idea of the four temperaments: the cat is choleric, the rabbit sanguine, the ox phlegmatic, and the elk melancholic. Before the Fall, these humors were held in check, controlled by the innocence of man; once Adam and Eve ate from the apple of knowledge, all four were activated, all innocence lost. Text from: www.metmuseum.org/toah/ho/08/euwc/ho_19.73.1.htm

Artist: Albrecht Dürer (German, Nuremberg 1471 - 1528 Nuremberg) Title: Saint Jerome in His Study Date: 1514 Medium: Engraving Dimensions: sheet: 9 11/16 x 7 7/16 in. (24.6 x 18.9 cm) trimmed on plate line Classification: Print Credit Line: Fletcher Fund, 1919 Accession Number: 19.73.68 Text from: www.metmuseum.org/Works_of_Art/collection_database/drawin... and St. Jerome in his Study St. Jerome who translated the Bible into Latin (the Vulgate) and was thus and exemplar of the Christian scholar, is seated in a study typical of that in Durer’s day. He works peacefully at a tilted writing table while his lion and dog slumber in the foreground. The light of his halo and the sunlight pouring in through the windows are in perfect equilibrium, and recurrent horizontals in the composition add to the pervasive sense of repose and harmony. The gourd hanging from the ceiling is an ironic allusion to a philosophical controversy resulting from Jerome’s translation of the biblical phrase, “gourd bower” as “ivy bower.” Text from the Metropolitan Museum of Art label.

Artist: Albrecht Dürer (German, Nuremberg 1471 - 1528 Nuremberg) Title: Coat of Arms with Cock Date: ca. 1502 Medium: Engraving Dimensions: 7 3/8 x 4 in. (18.8 x 10.2 cm) 7 13/16 x 5 1/4 in. (19.8 x 13.3 cm) Classification: Print Credit Line: Fletcher Fund, 1919 Accession Number: 19.73.112 Text from: www.metmuseum.org/Works_of_Art/collection_database/drawin... and Albrecht Durer German, 1471-1528 Coat of Arms with Cock, ca. 1502 Engraving Accession # 19.73.112 This beautiful design is probably Durer's own invention rather than a representation of an existing armorial device. It is one of only a few pure ornament engravings the artist produced. In this work, Durer's fine engraving technique brilliantly conveys the different textures of the cock's feathers, the metal of the helmet, and curling acanthus leaves. The degree of animation he brought to ornament was greatly influenced by Martin Schongauer, an example of whose work is displayed nearby. Text from the Metropolitan Museum of Art label.

Virgin and Child with Saint Anne probably 1519 Object Details Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: probably 1519 Medium: Oil on linden Dimensions: 23 5/8 x 19 5/8 in. (60 x 49.8 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.633 Dürer traveled to Italy from 1505–7, in particular to Venice where he met Giovanni Bellini. The juxtaposition of the two paintings here by Bellini and Dürer shows their shared interests not only in rich color and meticulous attention to detail, but especially in simplicity of form. Dürer’s haunting devotional painting depicts Saint Anne, who was particularly venerated in Germany, with the Virgin and Child. Anne’s hand on her daughter's shoulder takes on a consolatory meaning, and her distant gaze suggests a premonition of Christ's Passion. Although this panel’s date and monogram were added later, the picture was likely painted in that year. Text from: www.metmuseum.org/art/collection/search/436244

Virgin and Child with Saint Anne probably 1519 Object Details Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: probably 1519 Medium: Oil on linden Dimensions: 23 5/8 x 19 5/8 in. (60 x 49.8 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.633 Dürer traveled to Italy from 1505–7, in particular to Venice where he met Giovanni Bellini. The juxtaposition of the two paintings here by Bellini and Dürer shows their shared interests not only in rich color and meticulous attention to detail, but especially in simplicity of form. Dürer’s haunting devotional painting depicts Saint Anne, who was particularly venerated in Germany, with the Virgin and Child. Anne’s hand on her daughter's shoulder takes on a consolatory meaning, and her distant gaze suggests a premonition of Christ's Passion. Although this panel’s date and monogram were added later, the picture was likely painted in that year. Text from: www.metmuseum.org/art/collection/search/436244