Portrait of Dürer's Father at 70 (or The Painter's Father) is a 1497 oil on lime painting attributed to the German painter and printmakerAlbrecht Dürer, now in the National Gallery, London. Along with the 1490 Albrecht Dürer the Elder with a Rosary, it is the second of two portraits of the artist's Hungarian father Albrecht Dürer the Elder (1427–1502). The sitter's similarity to the earlier portrait, as well to a 1486 silverpoint drawing believed to be a self-portrait by his father, leave no doubt as to his identity.[1][2] The London panel is thought to be one of a number of copies of a lost original.[3]: 6 It is in poor condition, having suffered paint loss in the background and in areas of the cloak. It was cleaned in 1955, revealing especial quality in the description of the face, leading some to believe that it is a Dürer original.[1] However this claim is not made by the National Gallery who display it as "attributed to Albrecht Dürer".[4][3]
Portrait of Dürer's Father at 70, 1497, attributed to Albrecht Dürer. National Gallery, London. 51 cm x 40.3 cm.
Although a master goldsmith and well traveled, Albrecht the elder lived in poverty all his life. With his much younger wife Barbara Holper, he fathered 17 children, of which only two reached adulthood. He died in 1502, five years after this portrait was completed. He was supportive of his son's precocious talent and recognised it from an early age, sending him to apprenticeship with Michael Wolgemut, one of the highest regarded painters in Nuremberg at the time. From his travels Albrecht senior came into contact with the second generation of Netherlandish Renaissance painters, and through them passed on a key influence on his son's artistic development.
Dürer painted two portraits of his father, one from April 1490—the month before he left on his travels as a journeyman painter—and Portrait at 70 just after his return home to Nuremberg. Following his father's death the artist wrote an affecting eulogy in which he said that in his life the older man "underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him".[5]
Following his father's death five years after this portrait was painted, Dürer wrote that Albrecht the elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children, so that he had little enough. He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him for he lived an honourable Christian life, was a man patient of spirit, mild and peaceable to all and very thankful to God. For himself he had little need of company and worldly pleasures; he was also of few words, and was a God-fearing man."[5]
Detail
He was born Albrecht Ajtósi in 1427 in Ajtós, near the village of Gyula in the Kingdom of Hungary.[6] In 1455 had moved to Nuremberg and changed his name to Dürer to adapt to the local Nuremberg dialect. He took up an apprenticeship as a goldsmith under the tutelage of Hieronymus Holfer. In 1467, the year his apprenticeship ended, he married Barbara, Holfer's 15-year-old daughter. The couple had 18 children, only two of whom survived into adulthood.[7]
Dürer's Father's Self-portrait, 1486. Silverpoint drawing attributed to Albrecht the elder. Albertina Museum, Vienna.
Albrecht traveled a great deal, and came into contact with the Netherlandish painters while in Flanders. While there he was exposed to the work of both Jan van Eyck and Rogier van der Weyden, and developed a strong appreciation for them which he passed on to his son, whose art displays a large debt to these painters.[8][9] From his father, Dürer learned to appreciate the fine, almost forensic, attention to realistic detail favoured by the northern painters, as well as their use of brilliant colour. These lessons were key to the young artist's development, and set him apart from his fellow German artists whose work can often feel crude and heavy-handed by comparison.[8]
Albrecht apprenticed his son to Michael Wolgemut,[10] a painter also aware of the northern artists, when he was 14. Already the young artist was showing such potential that his father believed he should be trained by the best local master available.[11]
Albrecht the elder is shown, aged 70, in half view against a flat reddish background. He is wearing a black Hungarian hat and long brown robe with a black undergarment. He has an intelligent piercing gaze, although it may be interpreted as hostile glance towards the viewer.[11] The toll of age wears heavily on the old man's gaunt features. His fleshy cheeks are heavily folded, his lips thin and his hair wispy and in disarray.[12] His skin is heavily wrinkled, and his eyes are narrow and give a weary appearance.[1] By comparison to the 1490 Albrecht Dürer the Elder with a Rosary, his hands, though visible, are inactive, possibly due to arthritis.
Compared to his mild and pious expression in the 1490 portrait, Albrecht now seems impatient, while in the words of Marcel Brion the "stunned look in his eyes seems already to foresee his own death...[the] almost haggard intensity of [his] questioning gaze [is] directed upon those about him as if they could solve the urgent problems to which his own set lips had no answer."[12]
Albrecht retains some of the handsomeness of his youth; he has strong bone structure with the high cheek-bones characteristic of the Slav and Magyar blood in Hungarian appearance. He has almost exotic eyes, which approach his temples in an almost eastern way.[7]
Provenance and attribution
There is strong evidence that the portrait was originally hung alongside Dürer's 1498 Self-portrait.[1] Both are of the same dimensions and show the subject at half length. In 1650 the city of Nuremberg gave the pair of portraits to Thomas Howard, Earl of Arundel as a present to King Charles I of England, at a time when Dürer was regarded as the city's proudest son.[13] Both were later sold by Cromwell. Albrecht the Elder's portrait was eventually acquired by the National Gallery in 1904, where is bears the Inventory number NG1938. The self-portrait was bought by the Museo del Prado in Madrid.[1]
When the National Gallery bought the painting, they had little information about its attribution or provenance. A piece of a paper label was found on the reverse which was believed to have dated from the 17th century, and was similar to another found on the back of Dürer's 1498 self-portrait. In addition they noted the sitter's resemblance to the 1490 portrait and 1486 assumed self-portrait, and found a 1639 inventory record which described a portrait of his father as wearing a black hat and wearing "a dark yellow gown wherein his hands are hidden in the wide sleeves painted upon a reddish ground all crack’t".[13] These discoveries lead to the belief that it was the Dürer painting recorded in Charles I possession.
^There are no surviving sources referring to Dürer's portraits of his father from the artist's lifetime, however the connection was well made by the end of the 1500s.
^Von Fircks, Julian. "Albrecht Dürer the Elder with a Rosary". In: Van Eych to Durer. Borchert, Till-Holger (ed). London: Thames & Hudson, 2011. 419. ISBN978-0-500-23883-7
^Dürer later described Wolgemut as his 'second father'. Brion, 39
Conway, Martin. "Dürer Portraits, Notes". The Burlington Magazine for Connoisseurs, Volume 33, No. 187, October 1918. 142–143
Brion, Marcel. Dürer. London: Thames and Hudson, 1960.
Campbell Hutchison, Jane. Albrecht Dürer: A Guide to Research. New York: Garland, 2000. ISBN0-8153-2114-7
Foister, Susan. Dürer's Nuremberg Legacy: The case of the National Gallery portrait of Dürer's father. British Museum, 21 March 2003.
Sturge Moore, Thomas. Albert Dürer. Kessinger Publishing, 2004. ISBN1-4191-0533-7
External links
March 13, 2023
portrait, dürer, father, painter, father, 1497, lime, painting, attributed, german, painter, printmaker, albrecht, dürer, national, gallery, london, along, with, 1490, albrecht, dürer, elder, with, rosary, second, portraits, artist, hungarian, father, albrecht. Portrait of Durer s Father at 70 or The Painter s Father is a 1497 oil on lime painting attributed to the German painter and printmaker Albrecht Durer now in the National Gallery London Along with the 1490 Albrecht Durer the Elder with a Rosary it is the second of two portraits of the artist s Hungarian father Albrecht Durer the Elder 1427 1502 The sitter s similarity to the earlier portrait as well to a 1486 silverpoint drawing believed to be a self portrait by his father leave no doubt as to his identity 1 2 The London panel is thought to be one of a number of copies of a lost original 3 6 It is in poor condition having suffered paint loss in the background and in areas of the cloak It was cleaned in 1955 revealing especial quality in the description of the face leading some to believe that it is a Durer original 1 However this claim is not made by the National Gallery who display it as attributed to Albrecht Durer 4 3 Portrait of Durer s Father at 70 1497 attributed to Albrecht Durer National Gallery London 51 cm x 40 3 cm Although a master goldsmith and well traveled Albrecht the elder lived in poverty all his life With his much younger wife Barbara Holper he fathered 17 children of which only two reached adulthood He died in 1502 five years after this portrait was completed He was supportive of his son s precocious talent and recognised it from an early age sending him to apprenticeship with Michael Wolgemut one of the highest regarded painters in Nuremberg at the time From his travels Albrecht senior came into contact with the second generation of Netherlandish Renaissance painters and through them passed on a key influence on his son s artistic development Durer painted two portraits of his father one from April 1490 the month before he left on his travels as a journeyman painter and Portrait at 70 just after his return home to Nuremberg Following his father s death the artist wrote an affecting eulogy in which he said that in his life the older man underwent manifold afflictions trials and adversities But he won just praise from all who knew him 5 Contents 1 Albrecht Durer the Elder 2 Description 3 Provenance and attribution 4 Gallery 5 References 5 1 Notes 5 2 Sources 6 External linksAlbrecht Durer the Elder EditFollowing his father s death five years after this portrait was painted Durer wrote that Albrecht the elder passed his life in great toil and stern hard labour having nothing for his support save what he earned with his hand for himself his wife and his children so that he had little enough He underwent manifold afflictions trials and adversities But he won just praise from all who knew him for he lived an honourable Christian life was a man patient of spirit mild and peaceable to all and very thankful to God For himself he had little need of company and worldly pleasures he was also of few words and was a God fearing man 5 Detail He was born Albrecht Ajtosi in 1427 in Ajtos near the village of Gyula in the Kingdom of Hungary 6 In 1455 had moved to Nuremberg and changed his name to Durer to adapt to the local Nuremberg dialect He took up an apprenticeship as a goldsmith under the tutelage of Hieronymus Holfer In 1467 the year his apprenticeship ended he married Barbara Holfer s 15 year old daughter The couple had 18 children only two of whom survived into adulthood 7 Durer s Father s Self portrait 1486 Silverpoint drawing attributed to Albrecht the elder Albertina Museum Vienna Albrecht traveled a great deal and came into contact with the Netherlandish painters while in Flanders While there he was exposed to the work of both Jan van Eyck and Rogier van der Weyden and developed a strong appreciation for them which he passed on to his son whose art displays a large debt to these painters 8 9 From his father Durer learned to appreciate the fine almost forensic attention to realistic detail favoured by the northern painters as well as their use of brilliant colour These lessons were key to the young artist s development and set him apart from his fellow German artists whose work can often feel crude and heavy handed by comparison 8 Albrecht apprenticed his son to Michael Wolgemut 10 a painter also aware of the northern artists when he was 14 Already the young artist was showing such potential that his father believed he should be trained by the best local master available 11 Description Edit Albrecht Durer the Elder with a Rosary April 1490 Oil on oak Panel 47 5 cm x 39 5 cm Uffizi Florence Albrecht the elder is shown aged 70 in half view against a flat reddish background He is wearing a black Hungarian hat and long brown robe with a black undergarment He has an intelligent piercing gaze although it may be interpreted as hostile glance towards the viewer 11 The toll of age wears heavily on the old man s gaunt features His fleshy cheeks are heavily folded his lips thin and his hair wispy and in disarray 12 His skin is heavily wrinkled and his eyes are narrow and give a weary appearance 1 By comparison to the 1490 Albrecht Durer the Elder with a Rosary his hands though visible are inactive possibly due to arthritis Compared to his mild and pious expression in the 1490 portrait Albrecht now seems impatient while in the words of Marcel Brion the stunned look in his eyes seems already to foresee his own death the almost haggard intensity of his questioning gaze is directed upon those about him as if they could solve the urgent problems to which his own set lips had no answer 12 Albrecht retains some of the handsomeness of his youth he has strong bone structure with the high cheek bones characteristic of the Slav and Magyar blood in Hungarian appearance He has almost exotic eyes which approach his temples in an almost eastern way 7 Provenance and attribution EditThere is strong evidence that the portrait was originally hung alongside Durer s 1498 Self portrait 1 Both are of the same dimensions and show the subject at half length In 1650 the city of Nuremberg gave the pair of portraits to Thomas Howard Earl of Arundel as a present to King Charles I of England at a time when Durer was regarded as the city s proudest son 13 Both were later sold by Cromwell Albrecht the Elder s portrait was eventually acquired by the National Gallery in 1904 where is bears the Inventory number NG1938 The self portrait was bought by the Museo del Prado in Madrid 1 When the National Gallery bought the painting they had little information about its attribution or provenance A piece of a paper label was found on the reverse which was believed to have dated from the 17th century and was similar to another found on the back of Durer s 1498 self portrait In addition they noted the sitter s resemblance to the 1490 portrait and 1486 assumed self portrait and found a 1639 inventory record which described a portrait of his father as wearing a black hat and wearing a dark yellow gown wherein his hands are hidden in the wide sleeves painted upon a reddish ground all crack t 13 These discoveries lead to the belief that it was the Durer painting recorded in Charles I possession Gallery Edit Self portrait at 26 1498 Museo del Prado Madrid Oil on wood panel This work was for centuries hung alongside his fathers portrait Portrait of a Man 1521 or 1524 Museo del Prado Madrid Panel Note the stern and suspicious face References EditNotes Edit a b c d e Bailey 58 There are no surviving sources referring to Durer s portraits of his father from the artist s lifetime however the connection was well made by the end of the 1500s a b Susan Foister Wieseman Marjorie The Painter s Father 1497 National Gallery London 30 June 2010 Retrieved 7 August 2011 a b Sturge Moore 36 Sturge Moore 35 a b Brion 16 a b Brion 17 Von Fircks Julian Albrecht Durer the Elder with a Rosary In Van Eych to Durer Borchert Till Holger ed London Thames amp Hudson 2011 419 ISBN 978 0 500 23883 7 Durer later described Wolgemut as his second father Brion 39 a b Brion 21 a b Brion 20 a b Wieseman Marjorie E The Painter s Father 1497 National Gallery London 30 June 2010 Retrieved 13 August 2011 Sources Edit Allen Jessie Albrecht Durer Whitefish MT Kessinger Publishing 2005 ISBN 0 7661 9475 2 Bailey Martin Durer London Phidon Press 1995 ISBN 0 7148 3334 7 Conway Martin Durer Portraits Notes The Burlington Magazine for Connoisseurs Volume 33 No 187 October 1918 142 143 Brion Marcel Durer London Thames and Hudson 1960 Campbell Hutchison Jane Albrecht Durer A Guide to Research New York Garland 2000 ISBN 0 8153 2114 7 Foister Susan Durer s Nuremberg Legacy The case of the National Gallery portrait of Durer s father British Museum 21 March 2003 Sturge Moore Thomas Albert Durer Kessinger Publishing 2004 ISBN 1 4191 0533 7External links EditAt the National Gallery London Retrieved from https en wikipedia org w index php title Portrait of Durer 27s Father at 70 amp oldid 1125621816, wikipedia, wiki, book, books, library,
