This exhibit features selected works, mainly portraiture, of the German artist Albrecht Dürer which demonstrate his use of light and line to draw attention to the hands of his subjects. By examining these paintings in chronological order, we can gain an understanding of how the artist’s worldview developed over time. Dürer began his career as an artist with a wistful view on life, anchored by his religion, and the hands of the subjects in his earliest works reflect this. After exposure to the Italian Humanists during the Renaissance, Dürer’s focus shifted, and he used the hands of his subjects to depict the autonomy of mankind as secular beings with free agency, and a desire for pleasure through worldly experience. Eventually, he was able to reconcile his deep spirituality with his burgeoning Humanist view, for in much of his later works he depicted the hands of his subjects as tools of worship. Dürer also used several motifs throughout his career, which will appear with some frequency in the works featured throughout this exhibit. Some of these motifs include:

• Hands holding a type of thistle thought to bring luck in love

• An open-form window with a view of the outside world, to represent worldly desire or experience

• Court dress to represent social status—occasionally used ironically, when his subject was not from the suggested upper class

Albrecht DurerAlbrecht Durer the Elder

Oil on wood1490

Albrecht DurerAlbrecht Durer the ElderOil on wood1490

This early portrait of the artist’s father is in all likelihood an accurate representation of the subject. As a working class artisan, a goldsmith by trade, in this portrait Dürer the elder is dressed modestly and humbly in the clothing of the lower class: the dark, earthy tones of his hat, shirt, and cloak represent his position in German society. The cloak is a functional article of clothing, worn strictly for warmth and unadorned with any type of trim, closure, or decoration.

The folds of the cloak, as well as the vertical line created by the cloak’s opening, all draw our eyes downward, to the subject’s hands at the bottom edge of the portrait. The hands, like the subject’s face, are also highlighted and stand out from the darker hues of the rest of the portrait, emphasizing these features. In this portrait, the emphasis is on the subject’s hands, in which he holds a rosary. This seems most likely to indicate the artist’s piety, or perhaps the artist’s impression of his subject’s piety.

Albrecht DurerPortrait of Barbara

Oil on wood1490

Albrecht DurerSelf-Portrait

Oil on parchment, mounted on

canvas1493

Albrecht DurerSelf-PortraitOil on parchment, mounted on canvas1493

Dürer was not the first artist to create a self-portrait, but he was arguably the first to use self-portraiture as prolifically as he did. This youthful representation of the artist reveals a young man of just 22, gently illuminated against the black background. Once again, the lines of the portrait draw our eye toward his hands, which stand out in relief, demanding our study of them. He holds a thistle plant for luck in love, which lends a romantic and whimsical feeling to the depiction. This is reflected in the subject’s face, as well: the dreamy expression, the softly curved mouth, and the loosely cascading hair all indicate a wistfulness and even a naivety about the world which Dürer had yet to experience at the time this portrait was completed.

Albrecht DurerChrist as Man of Sorrows

Oil on wood1493

Albrecht DurerDresden Altarpiece (Side)

Oil on canvas1496

Albrecht DurerElector Frederick the Wise of Saxony

Tempura on canvas1496

Albrecht DurerAlbrecht Durer the Elder

Oil on limewood1497

Albrecht DurerAlbrecht Durer the ElderOil on limewood1497

This portrait of Durer’s father was painted after the artist’s first visit to Italy (and thus his first exposure to Humanist thought). Once again, the subject’s face is highlighted and stands out from the rest of the portrait, and the lines of the cloak point our gaze toward the subject’s hands. The overall composition seems faded, however: the color washed out; the brush strokes evident in the background reflect the harsh lines and slightly down turned mouth of the subject’s face as he stares directly outward, his scowling countenance seeming to accuse or to judge.

In a radical departure from some of Durer’s more pious works, here his subject’s hands are almost absent, hidden within the folds of the cloak and shadowed, conspicuously lacking the brightness of the flesh depicted in the subject’s face (and also in both the hands and faces of much of his other portraiture). Painted just after the artist was exposed to the Humanist philosophy , Durer seems to lash out against his former religious-centered focus. This portrait resents a startling departure from faith—perhaps even a complete denial of it—as the subject buries his hands in a tacit refusal of his religious practice.

Albrecht DurerYoung Furleger With Hair Loose

Oil on canvas1497

Albrecht DurerYoung Furleger With Hair Done Up

Oil on canvass1497

Albrecht DurerYoung Furleger With Hair Loose, andYoung Furleger With Hair Done UpOil on canvass1497

The previous two portraits are often cited as two sisters of the prominent Furleger family, although their identity cannot be confirmed for a certainty. “Portrait of a Young Fürleger with Hair Loose” depicts a young woman with her hands folded in prayer, her gaze lowered in reverence. Her long hair is loose about her shoulders and uncovered, an indication that she is an unmarried maiden, as was the custom during the Renaissance. The sister in “Portrait of a Young Fürleger With Hair Done Up” presents a marked contrast to the former sister, particularly in light of the fact that the portraits were completed shortly after Dürer’s return from Italy. In this portrait Dürer introduces the window as a positive element of the background. The view through the window is an open form that gives us just a glimpse of the world outside of the domestic sphere, indicating that she is more worldly, and certainly less pious than her counterpart, creating a comment on the Humanist freedom from religious trappings. She sees the world beyond her home, and is open to venturing out into it.

The hands as depicted in these portraits of the two Fürleger sisters obviously tell us a great deal about them. While the lines of both of their gowns draw our eye toward their hands, obviously the more pious sister is using her hands to pray devoutly; the other sister’s hands are more subtle. She holds the thistle believed to work as a love charm, further indicating the gap between the nature of the two sisters.

Albrecht DurerSelf-PortraitOil on panel

1498

Albrecht DurerSelf-PortraitOil on panel1498

This portrait was painted after Durer’s first trip to Italy and represents a marked change from his more youthful self-portrait painted just five years before. As a working-class artist, Dürer would not have dressed in the court attire featured here. Note the noble white robe and the cloak, which both fall in folds and are painted with lines again running toward the hands of the subject. Yet here, the working class hands are folded sedately and disguised in the white gloves, another mark of class distinction. Even the somewhat haughty gaze of the subject represents a marked departure from the humbly averted gaze of his earlier subjects.

From this false representation, Dürer seems to be making a comment on the lasting importance of the individuality of mankind on the whole, as well as of the Humanist artists who would usher in this change in general attitude. One clue to this change in attitude is the inclusion of the window as a positive element; the window view is an open form that only hints at the world at large available to those, like Dürer, who would venture to experience it. As we see in this self-portrait, which differs noticeably from Dürer’s 1493 self-portrait, the trip to Italy changed the artist’s view of both himself and the larger world, which in turn continued to shape his Humanist beliefs.

Albrecht DurerPortrait of Hans Tucher

Oil on panel1499

Albrecht DurerPortrait of Elizabeth Tucher

Oil on panel1499

Albrecht DurerPortrait of Felicitas Tucher

Oil on panel1499

Albrecht DurerOswolt KrelOil on panel

1499

Albrecht DurerSt Sebastian With An Arrow

Oil on panel1499

Albrecht DurerSelf-Portrait

Oil on limewood1500

Albrecht DurerSelf-PortraitOil on limewood1500

In his 1500 Self-Portrait, Dürer truly reconciles his burgeoning worldly beliefs with his spirituality, indicating a significant departure from the Humanists of Italy. In this portrait, he clothes himself in a sumptuous, fur-trimmed cloak, though he never would have owned such a garment on his working-class salary. With this “disguise,” he is suggesting that dignity and social standing should be bestowed on someone not based on their wealth or birthright, but rather by what they offer society. He is implying that even a humble artist is a contributor and has worth.

As with the other portraits featured in this exhibit, we are again drawn to the highlighted flesh tones of the subject, as the lines and folds of the cloak draw our eyes toward his hand. Here it is perhaps most provocative, particularly when combined with the daring, Christ-like pose. The hand gently touching the cloak indicates, “I am.” The artist, here the subject as well, boldly declares his very human and spiritual existence. The worker’s fingers gently caress the sumptuous fur, declaring his rightful place in the world and inviting us all to be elevated to the same status.

Albrecht DurerSalvatore Mundi

Oil on linden wood1503

Albrecht DurerDrummer and Piper Altarpiece

(Fragment)Oil on wood

1504

Albrecht DurerChrist Among the Doctors

Oil on panel1506

Albrecht DurerChrist Among the DoctorsOil on panel1506

Dürer led the Northern Renaissance movement in art, and this painting is a clear example of the ideals which separated the Northern Humanists from the classic Humanists of Italy. Religion was the guiding factor in the north, and in particular, the importance of personal communication with God—as illustrated with this interpretation of Luke 2:42-51.

The strange composition of this painting (the crowding and lack of negative space, as well as the lack of perspective from an artist who was a master of perspective) seems intentional, as if Dürer wanted to impress a sense of futility. Also somewhat strange is the distorted, ugly depiction of the learned men who crowd around the 12-year-old Christ child in a threatening manner, as they challenge him with their science and reason. The focal point of the composition is the tangle of hands highlighted in the center of the painting, drawing our attention to the Christ figure behind the barrier created by the jumble of heads, hands, and books. He is a direct contrast to the frenzied scholars, remaining calm and serene as he lectures them on the importance of faith and spirituality over their books.

Albrecht DurerAdam

Oil on panel1507

Albrecht DurerEve

Oil on panel1507

Albrecht DurerOld With Purse

Unknown media1507

Albrecht DurerOld With PurseUnknown media1507

This painting is a little referenced portrait which returns to the expression of individual worth. This time the subject is a peasant, perhaps even an outcast of society: an old woman so poor that she can’t even afford decent clothing. Yet her smile is incongruous with her station; she radiates with happiness. Her lank, silver hair and the deep lines of her face and other exposed skin all draw our eye downward, toward the highlighted hands, where the large bag of gold coins cannot go unnoticed.

This purse seems symbolic of the old woman’s worth: she is not smiling because she holds the purse, but rather, she holds the purse because she is rich in a way far greater than the money itself. Like the 1498 and 1500 self-portraits, Dürer is elevating the social status of his subject. This peasant woman is even more common than the working class artist, but in this portrait, he is asserting that even she has great value.

Albrecht DurerEmperor Charlemagne

Oil on panel1512

Albrecht DurerEmperor Sigismund

Oil on panel1512

Albrecht DurerThe Madonna of the Carnation

Oil on parchment, Mounted on pine

1516

Albrecht DurerThe Madonna of the CarnationOil on parchment, mountedon pine1516

Dürer was known for his iconic Madonna portraiture, of which this is a perfect example. The Virgin is painted in rich color and symmetrical beauty, her head adorned with a halo of muted light. As with the artist’s earlier paintings, the highlighted flesh tones draw our attention to the hands of the Madonna and the Christ child. She holds a carnation, the symbol of a mother’s pure love, an element that is reinforced by the red color of the flower, as well as of her gown and even her lips. The red carnation additionally represents the Passion in religious works of art.

During the Renaissance the pear symbolized the combination of wisdom and sweetness, for which the Christ child was often credited. (It would later evolve into a representation of, specifically, Christ’s love for mankind.) Dürer often included the pear in his depictions of the Christ child, but this particular painting perhaps best reflects the symbolic combination of the Virgin’s love and sacrifice with Christ’s love for mankind.

Albrecht DurerBernhard Reese

Oil on panel1521

Albrecht DurerMan With Beret and Scroll

Oil on panel1521

Albrecht DurerSt Jerome in Meditation

Oil on panel1521

Albrecht DurerSt Jerome in MeditationOil on panel1521

St. Jerome was a frequent subject for Dürer, but this particular painting stands out for its very unique composition. Dürer presents a tight view of his subject’s upper body, with quite a lot of detail crammed into the painting. Some clues to his subject’s servitude as a priest in the Roman Catholic Church include the red robe, the crucifix on the wall, and the scripture open in front of him.

The focal point, however, is again tied to his hands, which our eyes are naturally drawn to amid the busy composition. His head rests in one hand, indicating his deep contemplation, while the other hand points to the skull. The latter visual element provides a clue to what he is contemplating: death, and therefore presumably, his life. Although it seems a morbid subject to modern audiences, during the Middle Ages and throughout the next several centuries it was considered prudent for mankind to meditate on his own life. The question posed by this meditation seems to be: If death were to come for me tomorrow, have I lived a life of good works? Dürer seems to be using St. Jerome as the example for the rest of society to follow.

Albrecht DurerFour Holy Men

Oil on panel1526

Albrecht DurerFour Holy MenOil on panel1526

This painting gives us yet another clue to Dürer’s shifting religious beliefs. The panels seem simple and straight forward enough: the four figures, sometimes mistaken for apostles (thought only three of them are in fact), stand around the scriptures, held in the open hands of the two figures in the foreground. In the right panel, our eyes are drawn to the cluster of hands, where we see the figure in the background is holding a scroll, and the main figure in the foreground holds a sword, almost concealed in the robe as it echoes the vertical lines therein. This provides a clue to the controversy: this painting was not commissioned by the church, and in fact would later be banned as heretical for it is in support of the growing Protestant religion.

With this final painting, Dürer has come full circle. He began with portraits that show his subjects’ hands engaged in the deeply religious practices of the Roman Catholic Church, but shortly after that we see the hands of his subjects as tools of autonomy. By the turn of the 16th century, however, he has returned to using his subjects’ hands to demonstrate a deep spirituality, first in support of the church, but later evolving into the more forward thinking religion to come out of the Renaissance.