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Image of 2003.14.2 - Durer, Albrecht

2003.14.2 - Durer, Albrecht

The Flagellation (B33) by Albrecht Durer (German printmaker and painter, 1471-1528), signed in the block; from the Small Passion, edition 1511 with Latin text. This woodcut is a print from Dürer’s series known as the “Small Passion,” an illustrated narrative of the passion of Christ told in 36 prints. It depicts the moment where Christ is physically scourged. In this particular image, Christ appears to be reserved and tolerant of the brutality with which he is faced. This particular series was created prior to the Protestant Reformation, but many Reformation ideologies are already present here, especially the preference for religious storytelling Dürer is rightly heralded for his remarkab

Image of 2004.8.1 - Durer, Albrecht

2004.8.1 - Durer, Albrecht

Christ Nailed to the Cross (B39) by Albrecht Durer (German printmaker and painter, 1471-1528), signed in the block; from the Small Passion, edition 1511 with Latin text. This signed print is one of 36 from the series known as the “Small Passion.” Out of all of Dürer’s series, the “Small Passion” is the largest and one of his most popular. Dürer began the series sometime in 1508 or 1509, completed it in 1510, and published it in 1511 with Latin verses by Benedictus Chelidonius facing each plate. Between 1506 and 1512 Dürer devoted himself to the study of the human form. In tackling this problem, he drew upon the resources of arithmetic and geometry, reflecting the rigorous scientific obse

Image of 73.93 - Golyscheff, Jefim

73.93 - Golyscheff, Jefim

Untitled drawing by Jefim Golyscheff (Ukrainian painter, graphic artist, and composer, 1897-1970)

Image of 2011.72.2 - Zhukov, N.

2011.72.2 - Zhukov, N.

Lithograph poster in color with three portraits in front of textile patterns, text reads: "USSR COUNTRY OF 189 PEOPLES," printed in Russia 1934. Produced by Intourist, printed in the Soviet Union by Vneshtorgisdat, Moscow. Artists possibly N. Zhukov and S. Sakharov (Sacharov).

Image of 65.5 - N/A

65.5 - N/A

Panel painting of St. John the Evangelist's marthyrdom by being boiled alive in oil by the Roman Emperor Domitian, John is depicted as a half nude figure issuing from a large cauldron while a solgier pours oil over him and another works the bellows by the fire; the Emperor looks on from behind John.

Image of 59.177 - Beyer, M.

59.177 - Beyer, M.

Made in Augsburg, Germany, about the middle of the 17th century, this piece stands 2 feet high and is made from carved wood with silver inlaid details. It represents a peasant woman carrying a basket on her back. Her head is crowned with grapes and in the grapes are the grasshopper, a lizard and a bird eating a grape. She has big eyes and old face with wrinkles on her forehead and cheeks. She is dressed in traditional folk dress. In the middle ages rich farm women would wear gold coins on their costumes. The coins jingle when a woman walks warning everyone around that a prominent person is arriving. This peasant woman is wearing traditional dress with ruffled shirt and belt. Her skirt is gath

Image of 59.178 - Beyer, M.

59.178 - Beyer, M.

Figurine of a peasant holding a cane and sickle and bearing a basket on his back, mounted on silver gilt base with scroll design, signed inside base: "M. Beyer," artist worked in Augsburg. 1500-1699 AD

Image of 63.36 - Unknown

63.36 - Unknown

Engraving, copy made after Albrecht Durer's (1471-1528) "The Three Genii."

Image of 62.7 - Dotte, Franz

62.7 - Dotte, Franz

This object is a very elaborate and decorative example of Renaissance metalwork used by wealthy patrons. In the central circle, oval patterns contain allegorical figures of women in a background specific to one of the four seasons. Around the outer rim animals run through simply depicted landscapes. Before the invention of the fork, the purpose of such objects was to clean one's hands after eating. When the fork was invented in the Renaissance, it changed the culture of eating into a more social activity. Aristocratic festivities including food, drink, and entertainment increased: at these feasts, guests could exchange their knowledge of the new humanist learning that emerged in the works

Image of 63.37 - Durer, Albrecht

63.37 - Durer, Albrecht

Desiderius Erasmus, Christian theologian and humanist, witnessed the burgeoning movement that would come to be known as the Protestant Reformation, yet remained committed to reforming the Church from within. Here, he is depicted by printer and fellow theorist Albrecht Durer. Erasmus represented a more moderate position than his contemporary, Martin Luther, a man for whom Durer clearly had sympathy, though unlike Luther the artist never openly broke with the Roman Catholic Church. His religious loyalties notwithstanding, Erasmus gained the respect of both Luther and Durer for his superior learning and commitment to reform. The respect was mutual, for Erasmus was a great admirer of Durer's w

Image of 73.35 - Klee, Paul

73.35 - Klee, Paul

Lithograph with watercolor and pencil additions, titled "Zerstoerung und Hoffnung" [Destruction and Hope] by Paul Klee (Swiss painter, draftsman, and printmaker, 1879-1940) dated 1916. Paul Klee left Switzerland at age nineteen to study at the art academy in Munich, where graphic work was highly regarded and the influence of the Jugendstil placed renewed emphasis on the expressive power of line. Klee, along with Kandinsky, Franz Marc, and August Macke, formed the famous "Blaue Reiter Group," which was to make the word "expressionism" known throughout Europe.

Image of 73.99 - Grosz, George

73.99 - Grosz, George

People in the Street (Menschen in der Strasse) from In the Shadows (Im Schatten) by George Grosz (German painter and printmaker, 1893-1959)

Image of 97.4.4 - Kollwitz, Kathe

97.4.4 - Kollwitz, Kathe

Lithograph by Kathe Kollwitz (German, 1867-1945), entitled "Death Attacks" from the series "Abschied und Tod", included in a portfolio of ten lithographs, 1941. “Death Attacks” a lithograph by Kathe Kollwitz, a German artist, who is known for her expressive depictions of the effects of poverty, hunger, and war on the working class. The women in Kollwitz’s work, including her self portraits, are worried and suffering but alert with their eyes wide open; they are mourning but also survivors and protectors. In 1933, the Nazi government forced her to resign her position as the first female professor appointed to the Prussian Academy (in 1919); soon thereafter she was forbidden to exhibit her a

Image of P151 - Durer, Albrecht

P151 - Durer, Albrecht

"Madonna by the Wall", made in 1514, is quite different from the earlier "Virgin and Child with Monkey" (P149). The effect of the deep black lines, which create a more even-tempered, silvery matte texture, is almost tragic-perhaps a result of the death of Durer's mother, on May 14th, 1514. His rapid mastery of the medium of engraving can be followed year by year, with every new print by the artist. Peter Leeds, in "SCHOLARS, EXPLORERS, PRIESTS, How the Renaissance Gave Us the Modern World," ex. cat. G -T M, Queens College, CUNY, February 2 - March 27, 2010, 66. Whereas the "Virgin and Child with Monkey" is largely black and white in tone, the "Madonna by the Wall" shows a unique variety of

Image of P06 - Durer, Albrecht

P06 - Durer, Albrecht

Engraving by Albrecht Durer (1471 - 1528) titled "Philipp Melanchthon. Viventis. potuit. Durerius. ora. Philippi. Mentem. Non. Potvit. Pengere. Docta. Manus." Facsimile reproduction. Albrecht Durer, often called the "Leonardo of the North," was the most prominent and influential German artist of the Renaissance (see wall plaque nearby). Durer's friendships with Philipp Melanchthon and Erasmus of Rotterdam, both free-thinking humanist leaders, show his close contact with religious reform movements of the time. Melanchthon was a great humanist professor at Wittenberg who supported Martin Luther. The main emphasis of his research was on theology, philosophy, and rhetoric. He is shown in a thr

Image of P149 - Durer, Albrecht

P149 - Durer, Albrecht

This engraving, produced between 1496 and 1502, shows the young Durer's advanced skill in using the burin technique. The group of the Virgin and Child was a common medieval theme, which over the years became a frequent outlet for Durer to show his improving skills and his new interest in the structural forms visible in Italian art. His precise line and sensitive modeling became more and more detailed. This is a remarkably clear presentation of a draped figure in a deep landscape. The hatched lines in the dress and mantle of Mary are curved to follow the contours of the drapery. The knees of the Virgin are brightly highlighted and delicate turns in drapery folds are modulated in subtle tonalit

Image of P143 - Altdorfer, Albrecht

P143 - Altdorfer, Albrecht

This hand-colored landscape etching is a facsimile of a print by the German artist Albrecht Altdorfer. The landscape has not been identified with any specific location, but it does achieve illusionistic space. There are clear and subtle distinctions between natural elements in the foreground, middleground, and background. Suggestions of people are found on the embankment, but are not central to the work. Attention to weather is noted in the specific shapes and implied movement of the clouds. The idea of depicting actual landscapes emerged in the 15th and 16th centuries: Altdorfer's prints are early examples of landscape as subject matter for its own sake. Medieval representations of landsc

Image of P145 - Baldung, Hans

P145 - Baldung, Hans

In this print, Hans Baldung-Grien, a German painter, printmaker, and follower of Albrecht Durer, illustrates his preoccupation with the darker side of human nature, the supernatural, witches, and death. In this chiaroscuro woodcut, he depicts a witches' sabbath, a nocturnal ceremony in a desolate forest where women participants ride backwards on flying goats, stew human bones, eat flesh supposedly of children, and copulate with Satan in the shape of a goat. This image of witches stands as a clear example of the power of the cultural myth inherited from the Middle Ages that associated women with witchcraft and the female body with sin. During the Renaissance, from the 14th to the 17th centu

Image of P156 - Schongauer, Martin

P156 - Schongauer, Martin

"Saint Anthony Tormented by Demons" is one of fourteen prints that Martin Schongauer (ca. 1430-1491) made of male saints. It is arguably the most famous of Schongauer's engravings among his contemporaries and represented a popular theme of the period in Germany. Like many of his early prints, including the other two on view, "Saint Anthony Tormented by Demons" was widely copied and a source for imagery by artists and craftsmen of all statures during the late 15th and 16th centuries. Versions of this print have been called "The Temptation of Saint Anthony" and also "The Tribulations of Saint Anthony". Here Saint Anthony is shown surrounded by vicious animal-like demons hitting him with clubs

Image of P157 - Schongauer, Martin

P157 - Schongauer, Martin

One of Martin Schongauer's (ca. 1430-1491) earliest and most sought-after engravings, "The Flight into Egypt" is one of two that belong to the "Sorrows of the Virgin" (from his series on the Life of the Virgin). Here the Virgin and Child sit astride a small donkey, beneath bowed date-palm branches. Angels ensconced in the tree bend the boughs down, helping Joseph to gather the fruit. The two tropical trees, imaginatively depicted in the scene and not native species north of the Pyrenees, Schongau Pyrenees, were unfamiliar to Schongauer's audience in the Rhine Valley. Perhaps this exoticism, and the intimate, miraculous nature of the scene, initiated the enormous popularity of this print.