All About Portrait of the Artist’s Mother by Albrecht Durer


Title of Artwork: “Portrait of the Artist’s Mother”

Artwork by Albrecht Durer

12 months Designed 1514

Summary of Portrait of the Artist’s Mother

Charcoal drawing from March 1514 by German printer and painter Albrecht Dürer, presently held in the Kupferstichkabinett, Berlin, depicts Dürer’s mom at 63 a long time outdated. Barbara Holper (c. 1451–1514), his mother, was the issue of this sympathetic nonetheless unflinching portrait, which was concluded just two months right before her dying.

All About Portrait of the Artist’s Mom

Dürer had a shut connection with his mother, and adhering to her dying, he wrote that she experienced “died tricky” and that “I felt so grieved for her that I are not able to clarify it.” Melencolia I and Madonna by the Wall, two of his most well-known 1514 engravings, have been likened to this sketch in phrases of its gloomy temper.

A 1490 oil on wooden panel photograph presently in Nuremberg is extensively thought to be either an original or a duplicate of a extensive-considering the fact that-misplaced authentic. This is her next portrait. From a Paris auction property in 1877, the Kupferstichkabinett obtained all-around 35 Dürer drawings from the Firmin-Didot auction company.

Barbara Holper was the daughter of Hieronymus Holper, the goldsmith who trained Dürer’s Hungarian father. Throughout his apprenticeship, Albrecht Dürer most most likely stayed in the Holper property and witnessed the advancement of his master’s daughter. Dürer’s father, Hieronymus Holper, was 40 yrs aged when he married his 15-calendar year-previous daughter.

They appeared to be a excellent in good shape on the area, but their son statements that they experienced a rough existence jointly, full of disappointments and heartaches. Only two of their 18 little ones, born among 1468 and 1492, lived to adulthood. Jane Hutchinson, Dürer’s biographer, believes Barbara Holper might have been a goldsmith.

In the wake of his mother’s loss of life, her son wrote “These 18 kids have been introduced up by my holy mother, who was troubled with a variety of terrible sicknesses, was ridiculed and mocked, was subjected to plenty of terrors, and endured an outstanding sum of hardships and hardships all through her lifetime.

Even so, she experienced no unwell will. She was terrified of dying, but she stated she was not fearful to stand just before God. It was very clear that she had witnessed one thing horrifying, since she begged for the holy drinking water right after a extensive period of silence. Her eyes fell shut instantly.

I also witnessed Death’s two massive strokes to the heart, and how she closed her mouth and eyes and departed with a scream of agony. The prayers had been recited to her by me. I couldn’t even start off to describe how a lot I was hurting for her. She demands God’s mercy.”

At initially glance, Dürer’s depiction of his mother’s remaining days may possibly appear cruel or bizarre if he hadn’t still left behind a created record of his passion for her. This woman’s experience is skeleton, her pores and skin is aged and dim, her eyes are practically disconnected, and she appears to be seeking upwards towards an empty nothingness of hopelessness.

His penned records on the two his mothers and fathers, on the other hand, are empathetic portraits of the ravages of ageing and health issues on human flesh, and it is extensively thought that they are delicate analyses of these phenomena.

It was only in 1500 that Dürer created his final total-duration self-portrait right after meticulously documenting other people’s deteriorating bodily appearances.

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