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Updated: May 23, 2025
The German Madonnas of Albert Durer's time have often magnificent and luxuriant hair, curling in ringlets, or descending to the waist in rich waves, and always fair. Dark-haired Madonnas appear first in the Spanish and later Italian schools.
The Holbeins one and all must have been bad managers or improvident; at any rate, Hans did not turn out well as a man and we read that his father was always in debt and difficulty although he received much money for his work and was not handicapped, like Durer's father, by a family of eighteen children. The story of the Holbeins is quite unlike that of the Durers, and not nearly so attractive.
She glanced at him still again, at the seemingly melancholic and contemplative face, that strangely reminded her of Dürer's portrait of himself.
For long seconds he would pause with one foot held aloft in the attitude of a high-stepping horse, which distorted his dwarfish body into a diabolic convulsion, like Durer's angel of horror.
Or, in the tomb-like silence of the winter forest, with breath frozen on his beard, the ranger strode on snow-shoes over the spotless drifts; and, like Dürer's knight, a ghastly death stalked ever at his side. There were those among them for whom this stern life had a fascination that made all other existence tame. Rogers and his men had been in active movement since midwinter.
Do you not suppose an artist sees more in a birch swamp than we do? Is not even he likelier to be successful in painting new wonders in the commonplace than in trying to show objects we seldom see? Have you never noticed Albrecht Durer's drawing of Praying Hands? Look at a photograph of it, please. Is it not wonderful? We cannot describe all the feeling those hands suggest.
While Dürer's art exhibits a close affinity with the religious ideas of the Middle Ages, Holbein appears to have been imbued with more modern and more material sentiments, and accordingly we find him excelling Dürer in closeness and delicacy of observation in the delineation of nature.
Her face was exactly like those of Albert Durer's saints, or those of the painters before Perugino; the same plump, though slender modeling, the same delicacy saddened by ecstasy, the same severe guilelessness. Everything about her, even to her attitude, was suggestive of those virgins, whose beauty is only revealed in its mystical radiance to the eyes of the studious connoisseur.
In the foreground, instead of the poetical symbol of the unicorn, we have an old woman selling eggs and fowls, as in Albert Durer's print, which must have been well known to Titian. Albert Durer published his Life of the Virgin in 1520, and Titian painted his picture about 1550. From the life of the Virgin in the temple, we have several beautiful pictures.
There had been a great change in Nuremburg, for the doctrines of the Reformation were accepted by many of its people, and it was the first free city that declared itself Protestant. The change, too, was quietly made; its convents and churches were saved from violence, and the art treasures of the city were not destroyed. Among the most important Lutherans was Pirkheimer, Dürer's friend.
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