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Updated: May 23, 2025
Then the Van Eycks, Hubert and Jan, Rogier van der Weyden, Hugo van der Goes, Hans Memling, Quentin Massys, Lucas van Leyden, the two Hans Holbein, elder and younger, Burgkmair, Wolgemut, and then, master of them all, Albrecht Dürer.
We do not honour Duerer by supposing that he would have been among that majority of Dutch and German artists who, weaker than Roger van der Weyden and Burgkmair, returned from Italy injured and enfeebled; even if he had passed the greater portion of his life with her syren voice in his ears.
One copy which Maximilian intended for his own use was sent to Duerer that he might decorate the margins with pen-drawings in various coloured inks. Of this work there exist forty-three pages by Duerer himself and eight by Cranach at Munich, and at Besancon thirty-five pages by Burgkmair, Altdorfer, Baldung Grien, and Hans Duerer.
Some of the best are in the Cathedral of Augsburg. In one salon of the Munich Pinakothek there are sixteen panels painted by him. This painter was instructed by his father and by Hans Burgkmair. He was but fifteen years of age when he began to receive commissions for pictures.
From the unhappy location of his life Duerer was debarred from any such obvious and overwhelming effect on after generations. The influences which helped to shape him were no doubt at work on all the more eminent artists, his fellow-countrymen; on Albrecht Altdorfer, Hans Burgkmair, Lucas Cranach, or Baldung Grien, to mention only the elect.
Hans Holbein the Elder, who stands here with his long brown hair and beard falling over his fur gown, was a citizen of Augsburg, living for a while in the same street with the honoured Augsburg painter, Hans Burgkmair, and occasionally working with him on large commissions.
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