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| Nativity of the Virgin | |
|---|---|
 | |
| Artist | Albrecht Altdorfer |
| Year | c. 1520 |
| Medium | Oil on panel |
| Dimensions | 140.7 cm× 130 cm(55.4 in× 51 in) |
| Location | Alte Pinakothek, Munich |
The Nativity of the Virgin is an oil-on-panel painting by the German Renaissance artist Albrecht Altdorfer, dating to c. 1520, which is now in the Alte Pinakothek in Munich.
The work uses a scenic composition typical of the Danube school of the time. The subject, the birth of Mary, is shown in a secondary location in the lower part of the painting. It includes St. Anne's bed, the midwives with the daughter. St. Joachim, having been out for provisions, returns with a bundle slung from his staff across his shoulder. [1]
The predominant part of the work is the church background, where angels fly to form a large circle: in the middle is a young angel with a thurible for incense.
The edifice, symbolizing the analogy between Mary and the Catholic church (a subject later abolished by the Protestant Reformation), is organized in a complicated and original fashion: the ambulatory and the column galleries are Romanesque, the ogival windows are Gothic, the vaults and the shell-shaped niches are in Renaissance style. This attention to architectural elements was typical of Altdorfer's work in the period he spent at the court of Maximilian I.
Albrecht Altdorfer was a German painter, engraver and architect of the Renaissance working in Regensburg, Bavaria. Along with Lucas Cranach the Elder and Wolf Huber he is regarded to be the main representative of the Danube School, setting biblical and historical subjects against landscape backgrounds of expressive colours. He is remarkable as one of the first artists to take an interest in landscape as an independent subject. As an artist also making small intricate engravings he is seen to belong to the Nuremberg Little Masters.
The Danube school or Donau school was a circle of painters of the first third of the 16th century in Bavaria and Austria. Many were also innovative printmakers, usually in etching. They were among the first painters to regularly use pure landscape painting, and their figures, influenced by Matthias Grünewald, are often highly expressive, if not expressionist. They show little Italian influence and represent a decisive break with the high finish of Northern Renaissance painting, using a more painterly style that was in many ways ahead of its time.
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