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Group from the Artist's Calvary
Albrecht Dürerc. 1525
Renaissance and Reformation. German Art in the Age of Dürer and Cranach
This drawing structured in rapid strokes was probably produced in preparation for Dürer’s last painting, a Christ Carrying the Cross with many figures. This now lost painting, completed around 1527, was in the Habsburg imperial art collections in 1621. The three surviving copies of it make it clear that the left part of the painting corresponds to the subject of this sheet.
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Details
- Title: Group from the Artist's Calvary
- Creator: Albrecht Dürer
- Date Created: c. 1525
- Physical Dimensions: 29.4 × 21.5 cm
- Technique and Material: Pen and black ink, partially completed with lighter inks
- Provenance: Acquired in 1890
- Museum: Staatliche Museen zu Berlin, Kupferstichkabinett
- Inv.-No.: KdZ 3868
- ISIL-No.: DE-MUS-018511
- External Link: http://www.smb.museum/museen-und-einrichtungen/kupferstichkabinett/home.html
- Copyright: Photo © Staatliche Museen zu Berlin, Kupferstichkabinett/ Dietmar Katz; 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. 22 / Nadine Söll
- 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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