Family, Emperor of Austria (1852); Louis II. of Bavaria (1865); Count von Seinsheim, Baron von der Tann, New Pinakothek, Munich; Hebe with the Eagle, Aurora, Children in the Alps, South Kensington Museum; General Summons to Arms, Violin Solo (1855); Little Republican; Meran Shepherd-Boy; Little School-Mistress; Songs without Words; Evening Devotion.—Brockhaus, iv. 668; Kunst-Chronik, xx. 106.
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DÜRER, ALBRECHT, born in Nuremberg,
May 21,
1471, died
there, April 6,
1528. German
school; history
and portrait
painter and engraver.
Son of
a goldsmith,
who first instructed
him in
his trade, and
then apprenticed him to the painter Michael
Wolgemuth for three years and a half, after
which (1490) he visited Strasburg, Colmar,
Basle, and Venice, where he was much impressed
by the works of Andrea Mantegna.
Returning home about 1494, he married
Agnes Frey, and probably worked in Wolgemuth's
studio until 1497, when he removed
to an atelier of his own, where during the
succeeding eight years he produced a large
number of pictures, wood-cuts, and engravings.
From 1505 to 1507 he lived at Venice,
where he was much esteemed as a painter,
and though he lost none of his German
spirit, felt the charm of the Italian Renaissance
masters, Bellini and Mantegna, whose
influence he showed in his subsequent
works. Then followed his most active years
at Nuremberg. From 1512 he worked for
the Emperor Maximilian, who made him his
court painter, and whom he waited on at
Augsburg in 1518 as deputy for his native
city to the assembled Diet. In 1515 Nuremberg
assigned him a yearly pension of
100 gulden. His visit to the Netherlands
in 1521-22, undertaken for the sale of his
engravings, brought him into contact with
Lucas van Leyden, Jacopo de' Barbari, and
other artists, and introduced him to the
Archduchess Margaret, for whom he worked,
but whose favour he somewhat lost through
his pronounced advocacy of Luther's doctrines.
He attended the coronation of
Charles V. at Aix-la-Chapelle, and obtained
the appointment of court painter before his
return to Nuremberg, where he continued
to work until his death. Dürer never dealt
with fresco, though he furnished the designs
for the mural decorations of the City Hall at
Nuremberg—the Calumny of Apelles, and
the Triumph of Maximilian—probably
painted by George Pencz. The works in
oil and distemper from his hand are religious
subjects and portraits. Those in
water-colour are Hercules and the Birds of
Stymphalis (1500), in the German Museum
at Nuremberg, an allegorical head (1507) in
the Vienna Museum, and a Lucretia (1518)
in the Munich Gallery. Works: Altarpiece
with wings, except centre picture; Christ
on the Cross (1506), Christ bearing his
Cross (1521), Dresden Gallery; Dead Christ,
2 Baumgartner portraits (pendants belonging
to an altarpiece), Christ bearing his
Cross, SS. Paul and Mark, SS. Peter and
John the Evangelist, Assumption of the Virgin,
Munich Gallery; Job, Städel Institute,
Frankfort; Drummer and Fifer, Cologne
Museum; Saint with Glass Globe, Eugen
Felix, Leipsic; Saints, landscape back-*ground,
Bremen Gallery; Virgin (1503),
Vienna Museum; Adoration of Magi (1504),
Madonna (1526), Uffizi; Feast of Rose-Garlands
(1506), painted for the Church of
St. Bartholomew, Venice, Norbertine Strahow
Convent, Prague (copies in Ambras
Collection, Vienna, and Lyons Museum);
Christ among the Doctors, Pal. Barberini,
Rome; Madonna (1506), Marquis of Lothian,
Scotland; small Crucifixion (1506), Dresden
Gallery; Adam and Eve, Florence (Pitti),
Mentz, and Madrid Museums; Martyrdom
of the 10,000 (1508), Vienna Museum;
