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of a conventional background seemingly presents Dürer without regard to time or place. The placement of the inscriptions in the dark fields on either side of Dürer are presented as if floating in space, emphasizing that the portrait has a highly symbolic meaning. Its sombre mood is achieved through the use of brown tones set against the plain black background. The lightness of touch and tone seen in his earlier two self-portraits has been replaced by a far more introverted and complex representation.
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looks. Dürer turned 28 around 1500, the time of this work. In the medieval view of the stages of life, 28 marked the transition from youth to maturity. The portrait therefore commemorates a turning point in the artist's life and in the millennium: the year 1500, displayed in the centre of the upper left background field, is here celebrated as epochal. Moreover, the placing of the year 1500 above his signature initials, A.D., gives them an added meaning as an abbreviation of
248:. Both are believed to be self-portraits, although they are not named as such. However, artist historians believe that since they bear remarkable similarities to his known self-portraits – including prominent eyes, a narrow mouth with a full upper lip, and the shape of both the nose and indent between lip and nose – that Dürer intended to represent himself in these works.
226:. Typically he was shown with a short beard, moustache and brown parted hair. Dürer has rendered himself in this manner, and gives himself brown hair, despite his other self-portraits showing his hair as reddish-blond. The painting so closely follows the conventions of late medieval religious art that it was used as the basis for depictions of Christ in a woodcut by
205:. The Latin inscription, composed by Celtes' personal secretary, translates as: "I, Albrecht Dürer of Nuremberg portrayed myself in appropriate colours aged twenty-eight years". A further interpretation holds that the work is an acknowledgement that his artistic talents are God-given. Art historian
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and his queens, perhaps under instruction to use the pose. Late medieval and Early
Renaissance art had developed the more difficult three-quarters view, and artists were proud of their skill in using it; to viewers in 1500 and after, a frontal pose was associated with images from medieval religious
140:
Dürer's face has the inflexibility and impersonal dignity of a mask, hiding the restless turmoil of anguish and passion within. In its directness and apparent confrontation with the viewer, the self-portrait is unlike any that came before. It is half-length, frontal and highly symmetrical; its lack
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of c. 1520. This was perhaps intended to be passed off as a print by Dürer from the start, and in later printings bears a very large Dürer monogram, though this appears to have been added to the block several decades later; it was accepted by most experts as a Dürer until the 19th century. In the
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The self-portrait is of a markedly more mature Dürer than both the 1493 Strasbourg self-portrait and the 1498 self-portrait which he produced after his first visit to Italy; in both of these earlier paintings he had highlighted his fashionable hairstyle and clothing and played on his youthful good
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The self-portrait is most remarkable because of its resemblance to many earlier representations of Christ. Art historians note the similarities with the conventions of religious painting, including its symmetry, dark tones and the manner in which the artist directly confronts the viewer and raises
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In 1500, a frontal pose was exceptional for a secular portrait. In Italy the conventional fashion for profile portraits was coming to an end, but being replaced with the three-quarters view which had been the accepted pose in
Northern Europe since about 1420, and which Dürer used in his earlier
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The portrait was likely donated or sold by Dürer to the
Nuremberg city council. It was probably on continuous public display in Nuremberg from just before Dürer's death in 1528 until 1805, when it was sold to the Bavarian royal collection. It is now in the
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What may have been intended as one at the end of his life was made as a woodcut by another artist, Erhard Schön. Strauss speculates that Dürer made the drawing and his widow passed it to Schön to cut. See
Strauss,
284:. He also inserted self-portraits in other paintings, and made self-portrait drawings, although, he did not portray himself in any of his prints. At least twelve self-portrait images survive, as well as the lost
111:. Painted early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of his self-portraits.
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wrote that "to seeing the frontal likeness and inward curved left hand as echoes of, respectively, the "A" and nestled "D" of the
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Dürer was highly conscious of his self-image, and painted two earlier self-portraits: one in 1493 now in the
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featured at the right ... nothing we see in a Dürer is not Dürer's, monogram or not."
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often portrayed Christ looking directly at the viewer, especially when shown as
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Dürer presents himself in similar poses and expressions in both his 1498
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his hands to the middle of his chest as if in the act of blessing.
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von Fricks, Julian. "Albrecht Dürer the Elder with a Rosary". In:
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719:. Borchert, Till-Holger (ed). London: Thames & Hudson, 2011.
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The
Complete Engravings, Etchings and Drypoints of Albrecht Dürer
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201:. Dürer likely believed that any Christian could be portrayed as
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self-portraits. Fully frontal poses remained unusual, although
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Dürer deliberately portrays himself in a manner that invokes
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The Moment of Self-Portraiture in German
Renaissance Art
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next century, the face was used for Christ again, in a
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The Virgin and Child with a Flower on a Grassy Bench
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154:art, and mostly above all images of Christ.
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678:. Chicago: Chicago University Press, 2003.
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669:Anzeiger des Germanischen Nationalmuseums
130:, drawing of 1491–92. This study for the
1166:Portrait of the Artist Holding a Thistle
698:, Volume 6, No. 2, October 1975, 26–36.
676:The Invention of Art: A Cultural History
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598:. London: British Museum Press, 2002,
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233:Christ and the Woman Taken in Adultery
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653:. University of Chicago Press, 1996.
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16:1500 self-portrait by Albrecht Dürer
797:Portrait of Frederick III of Saxony
789:Portrait Diptych of Dürer's Parents
634:Albrecht Dürer: A Guide to Research
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370:List of paintings by Albrecht Dürer
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1216:The Holy Family with the Dragonfly
1008:Portrait of Hieronymus Holzschuher
913:Portrait of a Young Venetian Woman
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612:. London: Thames and Hudson, 1960.
469:. et al. Time-Life Books. p.
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280:, and another in 1498, now in the
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1567:Collection of the Alte Pinakothek
1497:Albrecht Dürer the Elder (father)
1240:Saint Michael Fighting the Dragon
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235:of 1637 by Johann Georg Vischer.
1572:Self-portraits by Albrecht Dürer
1224:The Holy Family with Three Hares
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961:Portrait of Emperor Maximilian I
953:Virgin and Child with Saint Anne
820:Portrait of Dürer's Father at 70
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581:. London: Phaidon Press, 1995.
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712:. Dover Books, New York, 1972.
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636:. New York: Garland, 2000.
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128:Self-portrait with a pillow
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630:Hutchison, Jane Campbell
240:Christ as Man of Sorrows
174:, which included Dürer.
1067:Seven Sorrows Polyptych
945:The Suicide of Lucretia
245:Head of the Dead Christ
1562:15th-century portraits
1476:Albrecht Dürer's House
1397:Madonna of the Animals
1082:Paumgartner Altarpiece
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168:Renaissance humanist
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1360:Portrait of Erasmus
1182:Self-Portrait at 28
1174:Self-Portrait at 26
1112:Feast of the Rosary
708:Strauss, Walter L.
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352:Self-portrait at 26
193:, late 15th century
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1449:
1441:
1433:
1425:
1410:
1395:
1387:
1379:
1373:watercolours
1358:
1350:
1342:
1334:
1326:
1320:Melencolia I
1318:
1310:
1302:
1294:
1286:
1278:
1270:
1262:
1254:
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1238:
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1222:
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1207:
1201:
1193:Woodcuts and
1181:
1180:
1172:
1164:
1156:
1137:
1118:
1110:
1095:
1080:
1065:
1050:
1022:
1014:
1006:
998:
990:
982:
967:
959:
951:
943:
935:
929:Adam and Eve
927:
919:
911:
903:
895:
887:
872:
863:
848:
832:
826:
818:
803:
795:
787:
780:
716:
709:
693:
689:
675:
668:
664:
650:
633:
616:
609:
595:
578:
559:
549:
540:
531:
522:
510:
502:
497:
488:
483:Hutchison, 3
479:
464:
442:
433:
424:
403:
350:
330:
316:Silver point
309:
275:
263:
243:
239:
237:
232:
228:Sebald Beham
221:
215:
196:
191:Hans Memling
186:
156:
147:Hans Holbein
143:
139:
131:
127:
113:
95:
94:
89:
88:
87:
1459: 1503
1420: 1508
1405: 1503
1299:(1510–1511)
1291:(1497–1510)
1259:(1498–1500)
1128: 1508
1105: 1503
1090: 1500
1075: 1500
1060: 1496
1044:Altarpieces
977: 1520
882: 1500
858: 1498
851:(Nuremberg)
842: 1498
813: 1496
563:Bartrum, 77
526:Bartrum, 78
446:Koerner, 39
437:Koerner, 65
178:Iconography
160:Anno Domini
119:Description
1546:Categories
1381:Young Hare
1344:Rhinoceros
1272:Visitation
1232:Apocalypse
1209:engravings
1195:engravings
419:Brion, 170
407:Bailey, 38
398:Bailey, 68
381:References
252:Provenance
65:Dimensions
1371:Drawings,
774:Paintings
535:Smith, 34
1130:) (with
875:(Munich)
364:See also
355:, 1498.
335:, 1493.
314:, 1484.
292:c 1515.
211:monogram
170:scholar
164:saeculum
73:Location
1516:Related
1469:Museums
921:Avarice
704:2539742
571:Sources
554:220–223
296:Gallery
290:Raphael
286:gouache
107:artist
99:) is a
57:Oil on
1485:Family
1446:(1514)
1438:(1514)
1430:(1512)
1392:(1503)
1384:(1502)
1363:(1526)
1355:(1522)
1347:(1515)
1339:(1515)
1331:(1514)
1323:(1514)
1315:(1513)
1307:(1511)
1283:(1504)
1275:(1503)
1267:(1500)
1251:(1497)
1243:(1498)
1235:(1498)
1227:(1496)
1219:(1495)
1185:(1500)
1177:(1498)
1169:(1493)
1142:(1511)
1115:(1506)
1107:–1504)
1027:(1526)
1019:(1526)
1011:(1526)
1003:(1526)
995:(1521)
987:(1521)
964:(1519)
956:(1519)
948:(1518)
940:(1508)
932:(1507)
924:(1507)
916:(1505)
908:(1506)
892:(1504)
868:(1500)
823:(1497)
800:(1496)
792:(1490)
723:
702:
682:
657:
640:
623:
602:
585:
271:Munich
81:Munich
54:Medium
36:Artist
700:JSTOR
692:, in
667:, in
610:Dürer
579:Dürer
516:image
101:panel
59:panel
721:ISBN
680:ISBN
655:ISBN
638:ISBN
621:ISBN
600:ISBN
583:ISBN
93:(or
49:1500
46:Year
269:in
189:by
1548::
1456:c.
1417:c.
1402:c.
1206:,
1125:c.
1102:c.
1087:c.
1072:c.
1057:c.
974:c.
879:c.
855:c.
839:c.
810:c.
649:.
632:.
594:,
471:89
451:^
412:^
389:^
79:,
1461:)
1454:(
1422:)
1415:(
1407:)
1400:(
1134:)
1123:(
1100:(
1092:)
1085:(
1077:)
1070:(
1055:(
979:)
972:(
884:)
877:(
860:)
844:)
837:(
831:/
815:)
808:(
759:e
752:t
745:v
473:.
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