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Portrait of a Young Venetian Woman is a small bust-length oil on elm panel painting by the German artist Albrecht Dürer from 1505. It was executed, along with a number of other high-society portraits, during his second visit to Italy.
The portrait type is already in line with Venetian models, and the tight cropping of arms and hands focuses attention fully on the face. Location: Kunsthistorisches Museum Wien, Saal XI. Object data.
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Oct 18, 2021 · Portrait of a Young Venetian Woman is a small bust-length oil on elm panel painting by the German artist Albrecht Dürer from 1505. It was executed, along with a number of other high-society portraits, during his second visit to Italy.
- Kunsthistorisches Museum, Vienna, Austria
Portrait of a Young Venetian Woman is a Northern Renaissance Oil on Canvas Painting created by Albrecht Dürer in 1505. It lives at the Kunsthistorisches Museum, Vienna in Vienna. The image is in the Public Domain, and tagged Portraits and Women.
- Summary of Albrecht Dürer
- Accomplishments
- Biography of Albrecht Dürer
It's fair to say that without Albrecht Dürer, printmaking as we know it within art history and contemporary art, would not exist. Despite living approximately 500 years ago, he remains one of the most famous and important printmakers in art history, in particular bringing woodcuts printed in large editions into the realm of fine art and the art his...
Until the 1500s, the art of Renaissance Italy (focused on proportion, perspective and representations of 'man' in his environment) had remained almost entirely independent from late medieval art in...Dürer felt it was important to produce artistic allegories for new conceptions of the human. For example, his famous series of prints, Knight, Death, and the Devil (1513), St. Jerome in His Study (...Later in his life Dürer became increasingly engaged in scientific topics, publishing treatises including his Four Books on Measurement (1525), Treatise on Fortification (1527) and Four Books on Hum...Despite his decidedly Renaissance interest in Humanismand mathematics, Dürer continued to produce extremely detailed studies of the natural world, particularly animals - be they newly discovered in...Childhood
Dürer was born in the city of Nuremberg on March 21st 1471 to Albrecht and Barbara Dürer as the third child of the two, who would go on to have at least 14, and possibly as many as 18 children. His father, a successful goldsmith, had moved to Nuremberg from Ajtós near Gyula in Hungary in 1455. He changed his surname from the Hungarian Ajtósi to its German translation Türer, meaning doormaker. Due to the local pronunciation, the family name eventually became established as Dürer.
Education and Early Training
Albrecht Dürer started an apprenticeship in his father's workshop at the age of 13, but showed such exceptional talent as a draughtsman that aged fifteen he began to be apprenticed under the painter Michael Wolgemut, much to the disappointment of his father at the time. He trained with him for three years from 1486 to 1489. From 1490 to 1494 he spent time as a journeyman, or traveler, as was custom at the time, in order to expand his knowledge and skills by working with various other artists....
Mature Period
Dürer's success as a printmaker rapidly spread across Europe, fueled by his popular Apocalypseseries of woodcuts from 1498. He was highly aware of his artistic image and authorship, which is evident in his bold monogram signature. As his art became increasingly valuable, Dürer's maker's mark was repeatedly forged, which even led him to file a complaint with the Venetian government against the engraver Marcantonio Raimondi, who had repeatedly copied his works and maker's mark, selling them off...
But Dürer’s bold drawing, done in his youth, shows a contemporary, private or public bath with six women of varying ages as well as two children. Out of principle, men were not allowed to...
Dürer’s haunting devotional painting depicts Saint Anne, the Virgin Mary’s mother, 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.
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