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Cardinal Albrecht Of Brandenburg (The Large Cardinal),

Albrecht Dürer1523

Renaissance and Reformation. German Art in the Age of Dürer and Cranach

Renaissance and Reformation. German Art in the Age of Dürer and Cranach

Albrecht of Brandenburg, the highest-ranking ecclesiastical dignitary of the empire, was a supporter of the sale of indulgences and one of Martin Luther’s most powerful adversaries. In 1519, a year after he was appointed cardinal, he commissioned Dürer to engrave his portrait (The Small Cardinal). Later Albrecht ordered a second portrait with five hundred prints, for which he modeled for Dürer at the Diet of Nuremberg in 1522–23.

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Details

  • Title: Cardinal Albrecht Of Brandenburg (The Large Cardinal),
  • Creator: Albrecht Dürer
  • Date Created: 1523
  • Physical Dimensions: 17.5 × 12.9 cm
  • Technique and Material: Copperplate engraving
  • Provenance: Old inventory, first listed in the inventory in 1861–62
  • Museum: Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett
  • Inv.-No.: A 824
  • ISIL-No.: DE-MUS-845516
  • External Link: http://www.skd.museum/de/museen-institutionen/residenzschloss/kupferstich-kabinett/
  • Copyright: Photo © Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett/ Andreas Diesend; Text © Renaissance and Reformation: German Art in the Age of Dürer and Cranach, A Cooperation of the Los Angeles County Museum of Art, the Staatliche Museen zu Berlin, the Staatliche Kunstsammlungen Dresden, and the Bayerische Staatsgemäldesammlungen München, Catalogue of the Exhibition at the Los Angeles County Museum of Art, Nov 20, 2016 – March 26, 2017, Munich: Prestel, 2016; cat. no. 96 / Claudia Schnitzer
  • Catalogue: https://prestelpublishing.randomhouse.de/book/Renaissance-and-Reformation/Stephanie-Buck/Prestel-com/e504919.rhd
  • Artist Dates: 1471 Nuremberg–1528 Nuremberg
  • Artist Biography: Dürer, who initially trained in his father’s goldsmith workshop, apprenticed to the painter Michael Wolgemut from 1486. His travels as a journeyman from 1490 to 1495 took him to the Upper Rhine and northern Italy, to which he returned a second time in 1505–7 (his stay in Venice). In 1520 he traveled to the Netherlands. Dürer’s prints, his most important source of income, made him famous throughout Europe, and the monogram AD became a seal of quality. His abundant production of paintings included altarpieces, portraits (especially of the patricians of Nuremberg), and self-portraits, among other works. Emperor Maximilian I entrusted important commissions to Dürer’s workshop, where Hans Baldung, the Beham brothers, and Hans Schäufelein were working. Dürer, who was in constant contact with important humanists, also wrote on issues of art theory, especially the theory of proportion. He was regarded as an Homo universalis (Renaissance man) already during his lifetime.

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