Susanna of Bavaria - Albrecht Dürer
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Beschrijving
A detailed 1525 portrait study by Albrecht Dürer, depicting Susanna of Bavaria in black chalk and white heightening on green prepared paper.
This portrait study of Susanna of Bavaria, executed by Albrecht Dürer in 1525, demonstrates the artist's technical precision in the medium of chalk on prepared paper. Dürer, a central figure of the Northern Renaissance, utilised a green-tinted ground to provide a mid-tone, allowing his use of white heightening to create volume and light across the subject's features and attire. The sitter is depicted in a three-quarter view, wearing a wide-brimmed hat characteristic of the period's fashion, and holding a small dog, a detail that adds a sense of domestic intimacy to the formal composition.
The drawing captures the sitter with a calm, steady gaze. Dürer's line work is controlled, defining the contours of the face and the folds of the heavy fabric with clarity. The inclusion of jewellery, specifically the necklace and the detailed collar, reflects the social status of the subject. The artist's ability to render textures, from the soft fur of the animal to the structured brim of the hat, is evident throughout the work. This piece provides insight into Dürer's working methods, as he often produced such studies to document the likenesses of notable individuals during his travels and commissions.
As a master of graphic arts, Dürer's approach to portraiture in this study avoids unnecessary ornamentation, focusing instead on the physical presence of the sitter. The use of white chalk to pick out the highlights on the nose, chin, and the animal's head creates a sense of three-dimensional form against the flat, green background. This work remains a clear example of the draughtsmanship that defined Dürer's career, showing his capacity to balance observational accuracy with the stylistic conventions of early sixteenth-century German portraiture.
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Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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Elk Solis-stuk wordt op bestelling gemaakt met archiefbestendige materialen van galeriekwaliteit die zijn ontworpen om lang mee te gaan.
- Giclée-print van museumkwaliteit voor rijke, kleurvaste kleuren
- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
- Diverse formaten en inlijstopties beschikbaar
- Lijsten in zwart, naturel hout, donker hout of wit
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
Susanna of Bavaria - Albrecht Dürer
Artist Biography
Albrecht Durer
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
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