1503 Oil on lime panel Alte Pinakothek, Munich In the background, an old and young shepherd, deep in conversation, are stepping up to the holy scene. As the old shepherd stretches out his hand in a rhetorical gesture, the other one turns towards him. The foreshortened frontal view of the young shepherd indicates Italian models such as Andrea Mantegna and others whose works D?rer had encountered during his first Italian journey.Artist:D?RER, Albrecht Title: Paumgartner Altar (detail of central panel) Painted in 1501-1550 , German - - painting : religious
Painting ID:: 63745
1503 Oil on lime panel, 151 x 61 cm Alte Pinakothek, Munich The side wings depict St George on the left and St Eustace on the right, complete with their attributes on their banners as recorded in the Legenda aurea. St George was a crusader and had liberated the Libyan town of Silena from the dragon, while the Crucified Christ had appeared to St Eustace in a forest in the antlers of a stag, thus converting him to Christianity. The donors themselves appear in the form of their personal saints. On the left, facing the central panel, Stephan Paumgartner appears as St George, and on the right Lukas Paumgartner appears as St Eustace. Both are wearing splendid knightly armor. They are Christian knights, guards and protectors of the holy shrine, the Nativity of Christ in the central panel where they appear once more as part of the group of the donating family.Artist:D?RER, Albrecht Title: Paumgartner Altar (right wing) Painted in 1501-1550 , German - - painting : religious
Painting ID:: 63746
Albrecht Durer 1503(1503)
Medium oil on linden
Dimensions Height: 155 cm (61 in). Width: 126 cm (49.6 in).
cyf Paumgartner Altar b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
