Created two years after the first self-portrait.
Currently displayed in the Alto Pinakothek, Munich.
Signature elements:
The year 1500 inscribed in mold painting on the left.
Large 'A' and small 'D' representing his initials.
Earlier self-portrait depicts Dürer in the attire of a courtier.
Aims to showcase his abilities as a painter seeking employment.
In contrast, the 1500 portrait presents Dürer more like Christ:
Full frontal pose, typically reserved for Christ imagery.
Less flattering yet powerful and direct representation.
Emotional neutrality of Dürer mirrors Christ as a judge.
The solemnity conveys a profound creative potential.
Represents Dürer’s humanist ideals, aligning him with major Renaissance artists:
Examples include Leonardo da Vinci and Michelangelo.
Dürer’s dual interests:
Melding of science and art.
Engagement with philosophy and ancient literature.
Artist identity shifts during the Renaissance:
From craftsman to intellectual and scholar.
Seriousness and purpose evident in the painting.
The northern tradition: Detailed depiction emphasizing specificity:
Comparison to artists like Van Eyck and Campin, known for attention to detail.
Dürer travels south to Italy, studies and integrates Italian techniques into his works:
Combines northern detail with Italian forms of expression.
Dürer, an influential 16th-century artist:
Contemporary of prominent figures like Michelangelo.
Roles as a printmaker, painter, and theorist.
Authored texts to guide artists through Renaissance concepts.
Worked for high-profile clients, including the Holy Roman Emperor and the King of Spain.
Inscription reads: "Thus I, Albrecht Dürer of Nuremberg, made an image of myself in appropriate colors in my 28th year."
Significance of his age: Only 28 when created.
Placement of inscription:
At eye level, directing viewer's gaze across his eyes.
Emphasizes the importance of his eyes and hands as the tools of an artist.