Albrecht Durer's works with titles. The best paintings of Durer

Albrecht Dürer was born on May 21, 1471 in Nuremberg.. The Durers had 18 children in their family (Albrecht was born third). His father was a goldsmith, and therefore with early childhood Dürer helped his father jewelry making. Albrecht's talent as an artist quickly emerged, and his father came to terms with the fact that the child would not be a jeweler. Therefore, Dürer was apprenticed to Michael Wolgemut (a local artist).

Wolgemut was reputed not only good artist, but also an excellent master of engraving, which his student fully mastered.

End of Dürer's studies

Albrecht Dürer's training ended in 1490, and he painted his first painting this year - “”. The young artist spent the next 4 years traveling around Europe to see how people live and gain new impressions.

In 1492, Dürer ended up in Colmar, where he lived at that time famous painter Martin Schongauer. But Dürer never had the opportunity to meet Martin, since he died a year before Albrecht's arrival. But Dürer met one of Schongauer’s brothers, who invited him to Basel. It was in Basel that Dürer met many famous works, besides, Schongauer’s brother had his own jewelry workshop, so they found a common language.

In 1493 Dürer came to Strasbourg. It was there that Albrecht received a letter from his father, who agreed to marry his son “in absentia.” Such marriages happened quite often at that time.

Dürer's marriage to Agnes

On July 7, Dürer married the daughter of a famous physician, Agnes Frey. It is not surprising that the marriage was not very happy, but they lived together until death. In 1495, Dürer even painted a portrait of his wife - “my Agnes.” My wife was interested in completely different things, but not arts and culture, so they did not always find compromises. They had no children.

Dürer truly became famous upon his arrival from Italy in 1494, where he stayed for six months. His first success was brought to him by wood and copper engravings, which were published in a huge number of copies. Soon Dürer became known outside Germany.

Having left for Italy again, in 1505, Dürer was received with honors, including by 75-year-old Giovanni Bellini. In Venice, Albrecht Durer performed for the German church San Bartolomeo altarpiece entitled "Feast of the Rosary".

Dürer's fame grew every year. His work was recognized and highly respected. In 1507 he returned to his homeland, and in 1509 he bought a huge house, which has survived to this day. It now houses the Dürer Museum.

In the winter of 1512, Nuremberg was visited by Holy Roman Emperor Maximilian I. By this time, Albrecht Dürer had painted two portraits of Maximilian's predecessors on the throne. The Emperor really liked these portraits, and he immediately ordered his own portrait from Dürer, but was unable to pay for it. Therefore, he obliged the Nuremberg treasury to annually pay the artist a substantial bonus.

After Maximilian's death in 1519, Dürer's bonus was no longer paid. Going on a trip in 1520 to the new Emperor Charles V, Dürer tried to restore justice, and he succeeded.

At the very end of his trip, Dürer fell ill with malaria, from which he died in 1528 in Nuremberg on April 6.

Albrecht Dürer (1471-1528), German painter, graphic artist, outstanding art theorist, was born to Hungarian Albrecht Dürer the Elder and German Barbara Holper. The family lived in the city of Nuremberg, located in the southeastern part of Germany. His father, a goldsmith, tried to instill in the boy an interest in the profession of a jeweler, but young Albrecht wanted to become an artist. And when the younger Durer turned 15 years old, he was sent to the workshop of the famous Nuremberg painter Michael Wolgemut.

The first steps of a young artist

Albrecht turned out to be a diligent and capable student, he a short time mastered the fundamental canons of painting and painted several small canvases. Dürer's paintings received the teacher's approval. Wolgemut, in addition to creating paintings, was engaged in graphics. His engravings, made according to the principle of woodcut (wood engraving), were used in his book “The Nuremberg Chronicles” by Hartmann Schedel, a German cartographer. The illustrations made by Wolgemuth and his students formed the main part of the book, which went down in history as a work of art. The author of one of the engravings in the book "Dance of Death" was Albrecht Durer.

Creative journey

In the 15th century, Germany had a tradition of apprenticeship trips, during which apprentices were exposed to the work of masters from other regions of the country. The young painter Durer also made such a journey. His voyage lasted four years, from 1490 to 1494. In addition to German cities, the artist Dürer, whose paintings were already quite famous, also visited cities in Switzerland and Holland, gaining invaluable experience from the great masters and Swiss engraving specialists. Starting his journey, Dürer dreamed of meeting the artist Martin Schongauer, whom he considered the standard of excellence in fine arts. At that time, Schongauer lived in Colmar and was engaged in copper engravings. However, the meeting between the two artists did not take place, since Martin died shortly before Albrecht’s arrival.

Basel

Albrecht Dürer, whose paintings and engravings were already known among specialists, met with the brother of the late Martin Schongauer, Ludwig, who was also engaged in copper engraving. Ludwig passed on his experience to Albrecht. The technique of copper engraving required jewelry skills, and Dürer had them, since while still a teenager he helped his father in the jewelry workshop for several years. Albrecht moved to Basel, the center of book printing. Another of the Schongauer brothers, Georg, lived in Basel. Collaborating with him, Dürer mastered all the intricacies of creating book engravings, and after some time, illustrations in a new, previously unknown style began to appear in Basel books. Dürer's creativity improved, he successfully applied new forms. In the book “Ship of Fools” by the German satirist, there were 75 of his graphic illustrations. Also in Basel, Dürer created a series of engravings for the book of comedies by Publius Terence, the Roman comedian. Albrecht left Basel for Strasbourg, where he painted his famous “Self-Portrait with a Thistle,” which he sent to his bride.

Return to Nuremberg

Albrecht Dürer, whose paintings were previously painted in the spirit of German flavor, returned to Nuremberg in 1494 with a huge amount of knowledge gained during four years of travel around Europe. Soon he married Agnes Frey, a decent girl, the daughter of Hans Frey, the owner of a workshop of precision measuring instruments. Marriage gave Albrecht the opportunity to open his own business. However, he founded his own workshop in Nuremberg only in 1495, because two months after his marriage he left for Italy, where he began to become acquainted with the work of Giovanni Bellini, an artist of the Venetian school, and Mantegna, who adhered to the sharp and harsh Paduan style of painting. Some of Dürer's paintings were subsequently painted in the same manner. And the landscape sketches made by Dürer later became engravings.

Engravings

Upon returning from Italy, Albrecht Dürer opened his own workshop and devoted the next 10 years to making wood and copper engravings. Collaborating with fellow Nuremberg masters Hans von Kulmbach and Hans Scheufelin, Dürer supplied engravings illustrating editions of Pindar, Holzel and Koberger. Albrecht's works were of a deep thematic nature, their quality was at a high artistic level. Dürer was considered an unsurpassed master book illustration. In 1498, the publisher Koberger published the book "Apocalypse", which included 15 woodcuts by the graphic artist, including "The Four Horsemen" and "The Battle of the Archangel Michael with the Dragon." Durer's painting "Apocalypse" is considered his best work. The theme, which unites 15 scenes into a single whole, was brilliantly reflected by the artist. Each engraving seems to be a continuation of the previous one and precedes the next one. And much later, in 1514, he created a mysterious copper engraving called “Melancholy”. Dürer depicted a bored angel on it, who, apparently, are also characterized by emotional experiences.

Painting

"Apocalypse" brought Albrecht Durer worldwide fame, and Durer's "Melancholy" entered the golden fund of fine art. Next major work The artist's book "The Passion of St. Brigid", which included 30 engravings. In addition to working on illustrations of modern books, Dürer also created engravings for the works of ancient authors such as Aristotle and Theophrastus, Aristophanes and Lucian. While engaged in graphics, Albrecht did not abandon painting; Dürer’s paintings periodically appeared in the field of view of the general public. Also in 1497-1499, he painted portraits of: Albrecht Dürer the Elder, the artist’s father, Elector of Saxony Frederick III, Oswald Krel, a trading agent. One of the most bright works The painting "The Adoration of the Magi" is considered to be one of Durer's paintings. Next comes the “Dresden Altarpiece” and “Seven Sorrows” - an extensive polyptych.

Venice

In 1505, Dürer again left for Italy. In Venice, he painted "The Festival of Rose Wreaths", but the painting was created not on a traditional canvas, but on a poplar board, with the prospect of placing it in the Church of San Bartolomeo next to the German trading house Fondaco dei Tedeschi. Famous German merchants commissioned the painting. Currently, the "Feast of Rose Wreaths" is in The era of that time is marked by the works of great masters, Titian, Palma Vecchio, Giorgione. However, Albrecht Durer gravitated towards the work of Giovanni Bellini, who was for him an example of inimitable color. In the end, he became friends with the Italian painter and, at his request, painted one of his Venetian paintings, “Madonna and the Siskin.” Another work created during Dürer's stay in Venice, Christ Among the Teachers, may also have been dedicated to Albrecht's friend.

Bologna

Regardless of his friendship with Giovanni Bellini, Dürer was a respected and revered man in Venice. The city council intended to detain the talented painter, offering him 200 ducats as an annual bonus. It was assumed that Albrecht Dürer would participate in city projects. However, the artist’s plans did not include a settled life; he sought to learn something new for himself, and for this he needed to constantly travel. After some time, Dürer found himself in Rome, where he hoped to meet Emperor Maximilian. The meeting did not take place, and Albrecht went to Bologna to visit the university and meet the scientists. He was interested in issues of perspective, having studied which he could structure his paintings more rationally. Consultations with a mathematician and then long conversations with an architect replenished the artist’s knowledge, and Dürer’s paintings became more and more grandiose.

Albrecht Dürer, a German Renaissance artist, was born in Nuremberg into a family of silversmiths originally from Hungary. He studied first with his father, then with the Nuremberg painter M. Wolgemut (1486 - 1490). He spent the “years of wanderings” obligatory for an artist of those times (1490 - 1494) in the cities of the upper Rhine (Basel, Colmar, Strasbourg), where he entered the circle of humanists and book printers. Returning to Nuremberg, he soon set off on a new journey, this time to Northern Italy (1494-1495, Venice and Padua). Dürer visited Venice again in 1505-1507. In 1520-1521 he visited the Netherlands (Antwerp, Brussels, Bruges, Ghent and other cities). He worked mainly in Nuremberg.

Dürer is the first German art a man of a purely Renaissance type, both in the peculiarities of his creativity and in the breadth of his interests. In painting he turned to the most different genres and topics: wrote traditional for German artistic culture altar compositions and paintings on gospel stories, created a large number of portraits. He also owns magnificent watercolor landscapes, images of plants, animals and birds. Its range is even wider in engraving, where mythological scenes and images, everyday subjects, and allegories are added to all of the above. The master's graphic heritage is enormous - about 900 sheets.

Main value Dürer's artistic universe is man. With keen attention, the master devoted himself to lively observation of various human characters and appearances, and an inquisitive study of the structure of the human body. The last task is devoted to a special theoretical work, “Four Books on Human Proportions” (1528), equipped with many drawings, analytical diagrams and drawings. Other theoretical treatises by the artist are also known. Scientific comprehension of the world is the most important aspect of Dürer’s creative credo.

Durer was the first of the Renaissance painters to realize that the character of a person, his spiritual essence and physical appearance, the artist can better understand and study by comprehending his own personality. None of the masters of Durer's time has such a number of self-portraits. And in general we can say that as an independent artistic task this variety portrait genre arose thanks to Dürer. Also in childhood he began to draw himself, then came to create his own pictorial images. Three self-portraits painted over just seven years reveal the formation creative personality: the human nature of the creator himself changes, and the principles of its embodiment in art also change. In “Self-Portrait at Twenty-Two Years” (1493, Paris, Louvre), the viewer sees a young man meticulously peering at himself, absorbed in the difficult task of self-knowledge.

Five years later (1498, Madrid, Prado) a completely different person appears before us - self-confident, elegant, beautiful, aware of his beauty and his creative capabilities. The dull neutral background of the previous portrait was replaced by another - a window into the world. The master is also no longer absorbed in introspection, but is completely open to communication.

In the next “Self-Portrait” (1500, Munich, Alte Pinakothek) the artist shows himself not in a three-quarter turn, but strictly in front. The gaze is directed at the viewer with some kind of relentless demand. Absolutely the right face, framed by wavy strands long hair, resembles the canonical face of Christ. The juxtaposition is clearly deliberate and very significant. It contains the artist’s new attitude towards his creative mission, a confident look at one’s own self. The color scheme of all self-portraits is very spare and restrained. It is built on shades of brown, black and white. The goal of maximum portrait resemblance clearly prevails over the desire to intensify the colorful expressiveness of the image. It is worth paying attention to this detail. In the last two self-portraits, not only the date of execution of the painting and the artist’s monogram appear, but also a detailed author’s inscription - a fact that, on the one hand, testifies to the increased creative self-awareness of the master.

Along with portraits, Dürer also painted traditional Northern Europe altar paintings. Commissioned by the patrician Paumgartner family, a triptych was painted for one of the churches in Nuremberg. Its central part depicts “The Nativity” (c. 1500, Munich, Alte Pinakothek). The composition whimsically combines features of medieval ideas with new Renaissance principles of constructing space. Thus, small figures of the family who ordered the altar go back to medieval iconographic schemes, incommensurate in scale with the main characters of the picture - the kneeling Mary and Joseph, tenderly looking at the Child. The scene takes place in the ruins of a magnificent old building, the perspective of which is decided in strict accordance with its scientific laws. The rich tones of the clothes of the main figures, as well as the light colors of the landscape in the background, indicate a certain influence of the works of the Italian masters with whom Dürer met during his first trip to Italy.

The Adoration of the Magi (1504, Florence, Uffizi) makes a more Renaissance impression as a complete spectacle. The clear composition, the figures freely positioned in space, the clear lines of the steps of the stone porch on which Mary sits going deep into the depths - everything imparts to the central group a feeling of calm dignity and grandeur characteristic of the works Italian Renaissance. The color scheme of the painting is dominated by saturated tones of the colorful range, although with bright blue sky The landscape clearly lacks the feeling of sunlight.

Only his second, almost year-long, stay in Venice radically enriched Dürer’s colorful palette. She became lighter and more harmonious. There was a feeling in the paintings air environment and solar lighting.

In the works executed in Venice in 1505-1506, the artist freely solves a variety of genre and compositional problems - from a bust-length portrait ("Portrait of a Young Venetian Woman", 1505, Vienna, Kunsthistorisches Museum) to a large multi-figure altar painting ("Feast of the Rosary" , 1506, Prague, National Gallery). The Feast of the Rosary (more precisely, it should be called the “Feast of Rose Wreaths”) is a work performed for one of the Venetian churches. The master turned to a rather rare topic, allowing him to combine legendary figures and real faces. He created a kind of group portrait of his contemporaries, where among those depicted you can see Emperor Maximilian, the Pope, and the artist himself. The celebration, in which the Mother of God and Child distribute pink wreaths to those who come to worship her, takes place in the open air against the backdrop of beautiful nature with dense green trees drawn against a clear blue sky, with snow-capped mountains rising in the distance - a memory of the Alps. Everything is magnificent in this picture: its strong compositional structure, the amazing variety of faces and expressions, the colorful and textured richness of the costumes. It is not without reason that the work received well-deserved recognition from the leading artists of Venice of that time, headed by Giovanni Bellini.

Dürer's paintings, executed in the first years after his return to his homeland, indicate that the impulse received from the art of the Italian Renaissance continues to persist. The artist is trying to find the mathematical laws by which the perfect human body is built. Along with numerous drawings, diagrams and drawings dedicated to solving this problem, two paintings appear that make up one indissoluble whole - “Adam” and “Eve” (1507, Madrid, Prado). The viewer is presented with ideally beautiful and at the same time very vivid images of the first people. And despite the fact that the master does not forget to depict the indispensable third participant in the scene - the Serpent-tempter, the artist is attracted not by the moralizing meaning of the legend, but by the human body as the most perfect creation of God.

In the 1510s, Dürer's graphic sheets began to predominate. He creates several series of woodcuts and famous copper engravings - The Knight, Death and the Devil, Saint Jerome and Melancholy (1513-1514). They reflected the master's philosophical reflections on the meaning of life, about time and himself, about Germany, shaken by the storm of the Reformation and peasant uprisings, about the complexity of ideological and spiritual collisions. The true content of some of these sheets continues to be unraveled by researchers. They contain a sophisticated allegory of images, a certain arch symbols main ideological categories.

last period creativity, after a trip to the Netherlands, Durer with new energy takes up painting. Several remarkable portraits capture the characteristic appearance of the people of this turbulent era: "Portrait young man"(1521, Dresden, Picture Gallery), "Portrait of an Unknown" (1524, Madrid, Prado), "Portrait of Hieronymus Holzschuer" (1526, Berlin, State Museums).

Albrecht Dürer was born in Nuremberg on May 21, 1471. His father moved from Hungary in the middle of the 15th century and was known as the best jeweler. There were eighteen children in the family; the future artist was born third.

From early childhood, Dürer helped his father in the jewelry workshop, and he had high hopes for his son. But these dreams were not destined to come true, because Dürer the Younger’s talent manifested itself early, and the father accepted that the child would not become a jewelry maker. At that time, the workshop of the Nuremberg artist Michael Wolgemut was very popular and had an impeccable reputation, which is why Albrecht was sent there at the age of 15. Wolgemut was not only an excellent artist, but also skillfully worked on wood and copper engraving and perfectly passed on his knowledge to a diligent student.

After finishing his studies in 1490, Dürer painted his first painting, “Portrait of the Father,” and went on a journey in order to learn skills from other masters and gain new impressions. He visited many cities in Switzerland, Germany and the Netherlands, improving his level of fine art. Once in Colmar, Albrecht had the opportunity to work in the studio of the famous painter Martin Schongauer, but he did not have time to meet the famous artist in person, because Martin died a year earlier. But the amazing creativity of M. Schongauer greatly influenced young artist and was reflected in new paintings in a style unusual for him.

While in Strasbourg, in 1493, Dürer received a letter from his father, where he announced an agreement to marry his son to a friend’s daughter. Returning to Nuremberg, the young artist married Agnes Frey, the daughter of a coppersmith, mechanic and musician. Thanks to his marriage, Albrecht increased his social status and could now have his own business, since his wife’s family was respected. The artist painted a portrait of his wife in 1495 entitled “My Agnes”. Happy marriage It’s impossible to name, because his wife was not interested in art, but they lived together until their death. The couple were childless and left no offspring.

Popularity outside Germany came to Albrecht with the help of copper and wood engravings in large numbers of copies when he returned from Italy. The artist opened his own workshop, where he published engravings; in the very first series, Anton Koberger was his assistant. In his native Nuremberg, craftsmen had greater freedom, and Albrecht applied new techniques in creating engravings and began selling them. The talented painter collaborated with famous masters and performed work for the famous Nuremberg publications. And in 1498, Albrecht made woodcuts for the publication “Apocalypse” and already gained European fame. It was during this period that the artist joined the circle of Nuremberg humanists, which was headed by Kondrat Tseltis.

Afterwards, in 1505, in Venice, Dürer was met and received with respect and honor, and the artist performed the altar image “Feast of the Rosary” for the German church. Having become acquainted with the Venetian school here, the painter changed his style of work. Albrecht's work was very highly appreciated in Venice, and the council offered money for maintenance, but talented artist nevertheless he left for his hometown.

Albrecht Dürer's fame increased every year, his works were respected and recognizable. In Nuremberg, he purchased for himself a huge house in Zisselgasse, which can still be visited today; the Dürer House Museum is located there. Having met with the Holy Roman Emperor Maximilian I, the artist showed two portraits of his predecessors, drawn in advance. The Emperor was delighted with the paintings and immediately ordered his portrait, but was unable to pay on the spot, so he began to pay Durer a decent bonus every year. When Maximilian died, the premium was no longer paid, and the artist set out on a journey to restore justice, but he failed. And at the end of the trip, Albrecht fell ill with an unknown disease, possibly malaria, and suffered from attacks for the remaining years.

Their last years During his life, Dürer worked as a painter; one of the important paintings is considered to be the “Four Apostles” presented to the city council. Work Researchers famous artist come to disagreements, some see four temperaments in this picture, and others see Dürer’s response to disagreements in religion. But Albrecht took his thoughts on this matter to his grave. Eight years after his illness, A. Dürer died on April 6, 1528 in the city where he was born.

Durer Albrecht (1471-1528), German painter, draftsman, engraver, art theorist. The founder of the art of the German Renaissance, Dürer studied jewelry making from his father, a native of Hungary, painting - in the workshop of the Nuremberg artist M. Wolgemut (1486-1489), from whom he adopted the principles of Dutch and German late Gothic art, became familiar with the drawings and engravings of early Italian masters Renaissance (including A. Mantegna). During these same years, Dürer experienced a strong influence from M. Schongauer. In 1490-1494, during the obligatory journeys along the Rhine for a guild apprentice, Dürer made several easel engravings in the spirit of late Gothic, illustrations for “The Ship of Fools” by S. Brant, etc. The influence of humanistic teachings on Dürer, intensified as a result of his first trip to Italy (1494-1495), manifested itself in the artist’s desire to master scientific methods knowledge of the world, to an in-depth study of nature, in which his attention was attracted by both the most seemingly insignificant phenomena (“Bush of Grass”, 1503, Albertina Collection, Vienna) and complex problems of the connection in nature with color and the light-air environment (“House at pond”, watercolor, circa 1495-1497, British museum, London). Dürer asserted a new Renaissance understanding of personality in portraits of this period (self-portrait, 1498, Prado).

"Feast of All Saints"
(Altar Landauer) 1511,
Kunsthistorisches Museum, Vienna

"Christ among the Scribes" Thyssen-Bornemisz Collection, 1506, Madrid

"Adam and Eve" 1507, Prado, Madrid (the most beautiful image of Adam and Eve!!)

"Self-portrait" 1493

"Self-portrait" 1500

"Madonna and Pear" 1512, Kunsthistorisches Museum, Vienna

"Praying Mary"

Durer expressed the mood of the pre-Reformation era, the eve of powerful social and religious battles, in a series of woodcuts “Apocalypse” (1498), in artistic language which organically merged the techniques of German late Gothic and Italian Renaissance art. His second trip to Italy (1505-1507) further strengthened Dürer’s desire for clarity of images and orderliness compositional structures(“Feast of the Rosary”, 1506, National Gallery, Prague; “Portrait of a Young Woman”, Museum of Art, Vienna), a careful study of the proportions of the naked human body (“Adam and Eve”, 1507, Prado, Madrid). At the same time, Dürer did not lose (especially in graphics) the vigilance of observation, subject expressiveness, vitality and expressiveness of images characteristic of the art of late Gothic (cycles of woodcuts “The Great Passion”, circa 1497-1511, “Life of Mary”, circa 1502-1511, “Little Passion”, 1509-1511). The amazing precision of the graphic language, the finest development of light-air relationships, the clarity of line and volume, the most complex philosophical underlying content are distinguished by three “masterful engravings” on copper: “Horseman, Death and the Devil” (1513) - an image of unwavering adherence to duty, perseverance in the face of the trials of fate; as the embodiment of the internal conflict of the restless creative spirit of a person; “Saint Jerome” (1514) is a glorification of humanistic inquisitive research thought.

“Melancholy I” (1514)

"Knight, Death and the Devil" 1513

"Four Horsemen of the Apocalypse"

"Feast of the Rosary" 1506, National Gallery, Prague

"Saint Jerome" 1521

By this time, Dürer had won an honorable position in his native Nuremberg and gained fame abroad, especially in Italy and the Netherlands (where he traveled in 1520-1521). Dürer was friends with the most prominent humanists in Europe. Among his customers were wealthy burghers, German princes and Emperor Maximilian I himself, for whom he, along with other major German artists, made pen drawings for a prayer book (1515).
In a series of portraits of the 1520s (J. Muffel, 1526, I. Holzschuer, 1526, both in art gallery, Berlin-Dahlem, etc.) Dürer recreated the type of man of the Renaissance era, imbued with a proud consciousness of the self-worth of his own personality, charged with intense spiritual energy and practical purposefulness. An interesting self-portrait of Albrecht Durer at the age of 26 wearing gloves. The model's hands lying on a pedestal are a well-known technique for creating the illusion of intimacy between the subject and the viewer. Dürer could have learned this visual trick from works such as Leonard's Mona Lisa, which he saw during a trip to Italy. The landscape that is visible in open window, is a feature characteristic of northern artists such as Jan Van Eyck and Robert Campin. Dürer revolutionized Northern European art by combining the experience of Dutch and Italian painting. The versatility of his aspirations was also evident in Dürer’s theoretical works (“Guide to Measuring...”, 1525; “Four Books on Human Proportions,” 1528). Dürer’s artistic quest was completed by the painting “The Four Apostles” (1526, Alte Pinakothek, Munich), which embodies four character-temperaments of people connected by a common humanistic ideal of independent thought, willpower, and perseverance in the struggle for justice and truth.

Ecce Homo (Son of Man)
Around 1495, Kunsthalle, Karlsruhe

"Four Apostles"

"Portrait of Dürer's father at the age of 70" 1497

"Adoration of the Magi" 1504

"Emperor Maximillian I" 1519

"Altar of Paumgartner" 1500-1504

"Seven Sorrows of a Maiden" 1497

"Emperors Charles and Sigismund" 1512

"Portrait of a Young Man" ca. 1504

"Portrait of a Young Venetian Woman" 1505

"Mary and Child with Saint Anne" 1519

"Portrait of a Woman" 1506