The following is a very incomplete list of engravings by the German painter and engraver Albrecht Dürer.
Image | Title | Year | Technique | Dimensions | Bartsch |
---|---|---|---|---|---|
![]() | Сonversion of Paul | 1494 | Copper engraving | 295 × 217 mm | |
![]() | Young Woman Attacked by Death; or The Ravisher | 1495–1495 | Copper engraving | 110 × 92 mm | B92 |
![]() | The Great Courier | 1494–1495 | Copper engraving | 100 × 115 mm | |
![]() | The Holy Family with the Dragonfly | 1495 | Copper engraving | 151 × 140 mm | B44 |
![]() | The Ill-Assorted Couple; or the Offer of Love | 1495 | Copper engraving | 151 × 140 mm | B93 |
![]() | Five Lansquenets and an Oriental on Horseback | 1495 | Copper engraving | 133 × 147 mm | B88 |
![]() | St Jerome Penitent in the Wilderness | 1494–1498 | Copper engraving | 316 × 225 mm | B61 |
![]() | The Penance of St John Chrysostom | 1494–1498 | Copper engraving | 183 × 119 mm | B63 |
![]() | The Deformed Landser Sow | 1494–1498 | Copper engraving | 118 × 126 mm | B95 |
![]() | The Prodigal Son | 1494–1498 | Copper engraving | 247 × 191 mm | B28 |
![]() | The Small Fortune | 1495–1496 | Copper engraving | 120 × 66 mm | B78 |
![]() | The Small Courier | 1496 | Copper engraving | 110 × 78 mm | B80 |
![]() | A Cook and his Wife | 1496 | Copper engraving | 109 × 77 mm | B84 |
![]() | Three Peasants in Conversation | 1496–1497 | Copper engraving | 108 × 77 mm | B86 |
![]() | Lady on Horseback and Lansquenet | 1496–1497 | Copper engraving | 106 × 77 mm | B82 |
![]() | An Oriental Family | 1496–1497 | Copper engraving | 111 × 79 mm | B85 |
![]() | Peasant and His Wife | 1496–1498 | Copper engraving | 109 × 77 mm | B83 |
![]() | The Four Naked Women; or The Four Witches | 1497 | Copper engraving | 194 × 135 mm | B75 |
![]() | Young Couple Threatened by Death; or the Promenade | 1496–1500 | Copper engraving | 194 × 120 mm | B94 |
![]() | The Madonna with the Monkey | 1496–1500 | Copper engraving | 190 × 121 mm | B42 |
![]() | The Temptation of the Idler; or The Dream of the Doctor | 1496–1500 | Copper engraving | 190 × 121 mm | B76 |
![]() | The Sea Monster | 1496–1500 | Copper engraving | 248 × 189 mm | B71 |
![]() | Hercules at the Crossroad | 1496–1500 | Copper engraving | 320 × 222 mm | B73 |
![]() | Sol Justitiae; or The Judge | 1498–1501 | Copper engraving | 105 × 76 mm | B79 |
![]() | St Sebastian, Tied to a Column | 1497–1501 | Copper engraving | 106 × 76 mm | B56 |
![]() | Virgin and Child Standing on a Crescent Moon | 1498–1500 | Copper engraving | 107 × 77 mm | B30 |
![]() | The Man of Sorrows with Arms Outstretched | 1500 | Copper engraving | 117 × 71 mm | B20 |
![]() | St Sebastian, Tied To a Tree | 1499–1503 | Copper engraving | 115 × 71 mm | B55 |
![]() | The Virgin and Child with Saint Anne | 1500–1502 | Copper engraving | 116 × 71 mm | B29 |
![]() | St Eustace | 1499–1503 | Copper engraving | 359 × 261 mm | B57 |
![]() | The Witch | 1498–1502 | Copper engraving | 115 × 71 mm | B67 |
![]() | Three Putti with Trumpets, Shield, and Helmet | 1498–1502 | Copper engraving | 114 × 72 mm | B66 |
![]() | Nemesis; or Good Fortune | 1501–1502 | Copper engraving | 330 × 230 mm | B77 |
![]() | Apollo and Diana | 1501–1506 | Copper engraving | 115 × 70 mm | B68 |
![]() | St George on Foot | 1500–1505 | Copper engraving | 116 х 72 mm | B53 |
![]() | A Standard Bearer | 1502–1503 | Copper engraving | 115 х 70 mm | B87 |
![]() | Coat of Arms with Lion and Rooster | 1500–1503 | Copper engraving | 182 х 118 mm | B100 |
![]() | Madonna on a Grassy Bench | 1503 | Copper engraving | 114 × 71 mm | B34 |
![]() | Coat of Arms with a Skull | 1503 | Copper engraving | 220 × 158 mm | B101 |
![]() | Nativity | 1504 | Copper engraving | 186 × 120 mm | B2 |
![]() | Adam and Eve | 1504 | Copper engraving | 248 × 192 mm | B1 |
![]() | Satyr Family | 1505 | Copper engraving | 115 × 70 mm | B69 |
![]() | Small Horse | 1505 | Copper engraving | 165 × 108 mm | B96 |
![]() | Large Horse | 1505 | Copper engraving | 167 × 119 mm | B97 |
![]() | St George on Horseback | 1508 | Copper engraving | 109 × 85 mm | B54 |
![]() | Crucifixion | 1508 | Copper engraving | 134 × 98 mm | B24 |
![]() | Virgin on a Crescent with a Starry Crown | 1508 | Copper engraving | 119 × 75 mm | B31 |
![]() | The Holy Family with St John, The Magdalen and Nicodemus | 1510 | Drypoint | 216 × 190 mm | B43 |
![]() | Madonna with the Pear | 1511 | Copper engraving | 160 × 107 mm | B41 |
![]() | St Jerome by the Pollard Willow | 1512 | Drypoint | 208 × 185 mm | B59 |
![]() | Man of Sorrows with Hands Bound | 1512 | Drypoint | 118 × 74 mm | B21 |
![]() | Sudarium Displayed by Two Angels (Sudarium of St Veronica) | 1513 | Copper engraving | 100 × 139 mm | B25 |
![]() | Madonna by the Tree | 1513 | Copper engraving | 117 × 75 mm | B35 |
![]() | Knight, Death and the Devil | 1513 | Copper engraving | 246 × 188 mm | B98 |
![]() | Peasant Couple Dancing | 1514 | Copper engraving | 117 × 74 mm | B90 |
![]() | The Bagpiper | 1514 | Copper engraving | 116 × 75 mm | B91 |
![]() | St Jerome in his Study | 1514 | Copper engraving | 247 × 188 mm | B60 |
![]() | Madonna by the Wall | 1514 | Copper engraving | 147 × 101 mm | B40 |
![]() | Melencolia I | 1514 | Copper engraving | 239 × 188 mm | B74 |
![]() | Virgin and Child on the Crescent Moon with a Diadem | 1514 | Copper engraving | 118 × 76 mm | B33 |
![]() | The Apostle Paul | 1514 | Copper engraving | 118 × 74 mm | B50 |
![]() | The Apostle Thomas | 1514 | Copper engraving | 117 × 75 mm | B48 |
![]() | Man of Sorrows, Seated | 1515 | Etching | 112 × 67 mm | B22 |
![]() | Agony in the Garden | 1515 | Etching | 224 × 157 mm | B19 |
![]() | The Desperate Man | 1513–1517 | Etching | 186 × 135 mm | B70 |
![]() | Sudarium Spread Out by an Angel | 1516 | Etching | 184 × 133 mm | B26 |
![]() | Abduction of Proserpine on a Unicorn | 1516 | Etching | 315 × 211 mm | B72 |
![]() | The Virgin on a Crescent with a Crown of Stars and a Sceptre | 1516 | Copper engraving | 118 × 74 mm | B32 |
![]() | Madonna Crowned by Two Angels | 1518 | Copper engraving | 155 × 101 mm | B39 |
![]() | Landscape with Cannon [1] | 1518 | Etching | 218 × 324 mm | B99 |
![]() | Cardinal Albrecht of Brandenburg; or The Small Cardinal | 1519 | Copper engraving | 146 × 96 mm | B102 |
![]() | St Antony | 1519 | Copper engraving | 98 × 142 mm | B58 |
![]() | The Peasant and His Wife at the Market | 1519 | Copper engraving | 115 × 72 mm | B89 |
![]() | Madonna Nursing | 1519 | Copper engraving | 115 × 74 mm | B36 |
![]() | Madonna Crowned by an Angel | 1520 | Copper engraving | 138 × 99 mm | B37 |
![]() | Madonna with the Swaddled Infant | 1520 | Copper engraving | 141 × 96 mm | B38 |
![]() | St Christopher Facing to the Right | 1521 | Copper engraving | 118 × 75 mm | B52 |
![]() | St Christopher Facing to the Left | 1521 | Copper engraving | 118 × 75 mm | B51 |
![]() | Cardinal Albrecht of Brandenburg; or the Great Cardinal | 1523 | Copper engraving | 174 × 127 mm | B103 |
![]() | St Bartholomew | 1523 | Copper engraving | 121 × 75 mm | B47 |
![]() | St Simon | 1523 | Copper engraving | 118 × 75 mm | B49 |
![]() | Large Crucifixion in outline only | с. 1523 | Copper engraving | 320 × 226 mm | |
![]() | Portrait of Frederick the Wise | 1524 | Copper engraving | 193 × 126 mm | B104 |
![]() | Willibald Pirckheimer | 1524 | Copper engraving | 182 × 111 mm | B106 |
![]() | St Philip | 1526 | Copper engraving | 122 × 76 mm | B46 |
![]() | Philipp Melanchthon | 1526 | Copper engraving | 177 × 127 mm | B105 |
![]() | Erasmus of Rotterdam | 1526 | Copper engraving | 249 × 193 mm | B107 |
![]() | Man of Sorrows by the Column (Passion No. 1) | 1509 | Copper engraving | 117 × 74 mm | B3 |
![]() | Agony in the Garden (Passion No. 2) | 1508 | Copper engraving | 117 × 74 mm | B4 |
![]() | Betrayal of Christ (Passion No. 3) | 1508 | Copper engraving | 117 × 74 mm | B5 |
![]() | Christ before Caiaphas (Passion No. 4) | 1512 | Copper engraving | 117 × 74 mm | B6 |
![]() | Christ before Pilate (Passion No. 5) | 1512 | Copper engraving | 117 × 74 mm | B7 |
![]() | Flagellation (Passion No. 6) | 1512 | Copper engraving | 117 × 74 mm | B8 |
![]() | Christ Crowned with Thorns (Passion No. 7) | 1512 | Copper engraving | 117 × 74 mm | B9 |
![]() | Ecce Homo (Passion No. 8) | 1512 | Copper engraving | 117 × 74 mm | B10 |
![]() | Pilate Washing his Hands (Passion No. 9) | 1512 | Copper engraving | 117 × 74 mm | B11 |
![]() | Bearing of the Cross (Passion No. 10) | 1512 | Copper engraving | 117 × 74 mm | B12 |
![]() | Crucifixion (Passion No. 11) | 1511 | Copper engraving | 117 × 74 mm | B13 |
![]() | Lamentation over Christ (Passion No. 12) | 1512 | Copper engraving | 117 × 74 mm | B14 |
![]() | Deposition (Passion No. 13) | 1512 | Copper engraving | 117 × 74 mm | B15 |
![]() | Harrowing of Hell; or Christ in Limbo (Passion No. 14) | 1512 | Copper engraving | 117 × 74 mm | B16 |
![]() | Resurrection (Passion No. 15) | 1512 | Copper engraving | 117 × 74 mm | B17 |
![]() | St Peter and St John Healing the Cripple (Passion No. 16) | 1513 | Copper engraving | 117 × 74 mm | B18 |
Albrecht Dürer, sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Joachim and Anne Meeting at the Golden Gate is a 1504 woodcut by the German artist Albrecht Dürer that depicts the standard scene of Joachim and Anne Meeting at the Golden Gate. In the woodcut, the parents of the Virgin Mary, Joachim, and Anne meet at the Golden Gate of Jerusalem, upon learning that she will bear a child.
Saint Sebastian at the Column is a 1500 copper engraving by the German artist Albrecht Dürer (1471–1528), part of his series of the Lives of the Saints.
Saint Jerome in His Study is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend, which contained fanciful hagiographies of saints.
The Triumphal Arch is a 16th-century monumental woodcut print commissioned by the Holy Roman Emperor Maximilian I. The composite image was printed on 36 large sheets of paper from 195 separate wood blocks. At 295 × 357 centimetres (116 × 141 in), it is one of the largest prints ever produced and was intended to be pasted to walls in city halls or the palaces of princes. It is a part of a series of three huge prints created for Maximilian, the others being a Triumphal Procession which is led by a Large Triumphal Carriage ; only the Arch was completed in Maximilian's lifetime and distributed as propaganda, as he intended. Together, this series has been described by art historian Hyatt Mayor as "Maximilian's program of paper grandeur". They stand alongside two published biographical allegories in verse, the Theuerdank and Weisskunig, heavily illustrated with woodcuts.
The Great Piece of Turf is a watercolor painting by Albrecht Dürer created at his Nuremberg workshop in 1503. It is a study of a seemingly unordered group of wild plants, including dandelion and greater plantain. The work is considered one of the masterpieces of Dürer's realistic nature studies.
Visitation is a 1503 woodcut by the German Renaissance artist Albrecht Dürer, from his series on the Life of the Virgin. It depicts the Visitation, an episode in the Gospel of Luke, Luke 1:39–56 when Mary, heavily pregnant, travels to see her much older cousin Elisabeth, who is now also late with child.
Young Hare is a 1502 watercolour and bodycolour painting by German artist Albrecht Dürer. Painted in 1502 in his workshop, it is acknowledged as a masterpiece of observational art alongside his Great Piece of Turf from the following year. The subject is rendered with almost photographic accuracy, and although the piece is normally given the title Young Hare, the portrait is sufficiently detailed for the hare to be identified as a mature specimen — the German title translates as "Field Hare" and the work is often referred to in English as the Hare or Wild Hare.
Saint Michael Fighting the Dragon is a woodcut of 1498 by Albrecht Dürer, part of his Apocalypse series, illustrating the Book of Apocalypse or Revelation of St. John.
Praying Hands, also known as Study of the Hands of an Apostle, is a pen-and-ink drawing by the German printmaker, painter and theorist Albrecht Dürer. The work is today stored at the Albertina museum in Vienna, Austria.
The Sea Monster is a c. 1498–1500 copper engraving by the German Renaissance master Albrecht Dürer. It shows a voluptuous naked woman riding on the back of a merman, a male creature who is half-man, half-fish. The man wears a beard and antlers, while his lower body is covered in scales. The woman has seemingly been snatched and dragged away from the river bank; her companions are shown scrambling out of the water in panic, raising their arms in protest or lying down weeping. The woman wears an extravagant Milanese headdress and her mouth is open in a cry as she looks back at her friends in the distance. Despite the woman's gaze back at the bank and her open mouth, her relaxed Venus like pose suggests to some critics that she is not overly concerned with her plight.
Portrait Diptych of Dürer's Parents is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper and Albrecht Dürer the Elder, when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close, and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
Portrait of the Artist Holding a Thistle is an oil painting on parchment pasted on canvas by German artist Albrecht Dürer. Painted in 1493, it is the earliest of Dürer's painted self-portraits and has been identified as one of the first self-portraits painted by a Northern artist. It was acquired in 1922 by the Louvre in Paris.
The Holy Family with the Dragonfly, also known as The Holy Family with the Mayfly, The Holy Family with the Locust, and The Holy Family with the Butterfly is an engraving by the German artist Albrecht Dürer (1471–1528) from approximately 1495. It is quite small but full of intricate detail. A very popular image, copied by other printmakers within five years of creation, it is found in most major print room collections, including the Indianapolis Museum of Art and the UK Royal Collection.
The Large Triumphal Carriage or Great Triumphal Car is a large 16th-century woodcut print by Albrecht Dürer, commissioned by the Holy Roman Emperor Maximilian I. The work was originally intended to be the central part of a 54 metres (177 ft) long print of a Triumphal Procession or Triumph of Maximilian, depicting Maximilian and his court entourage in a procession. This section shows the emperor in his triumphal car, and was part of a tradition depicting imaginary "triumphs" or real processions, such as royal entries.
Agnes Dürer née Frey (1475–1539) was the wife of the German artist Albrecht Dürer. During their marriage, which was childless, she was portrayed several times by Dürer.
Wing of a European Roller is a nature study watercolor by Albrecht Dürer. Dürer painted it from a dead specimen in 1500 or 1512.