Albrecht Dürer Exhibit: His Subjects’ Hands as Tools of Autonomy and Piety

1. This exhibit features selected works, mainly portraiture, of the
German artist Albrecht Dürer which demonstrate his use of
light and line to draw attention to the hands of his subjects.
By examining these paintings in chronological order, we can
gain an understanding of how the artist’s worldview
developed over time. Dürer began his career as an artist with
a wistful view on life, anchored by his religion, and the hands
of the subjects in his earliest works reflect this.
After exposure to the Italian Humanists during the
Renaissance, Dürer’s focus shifted, and he used the hands of
his subjects to depict the autonomy of mankind as secular
beings with free agency, and a desire for pleasure through
worldly experience. Eventually, he was able to reconcile his
deep spirituality with his burgeoning Humanist view, for in
much of his later works he depicted the hands of his subjects
as tools of worship.
Dürer also used several motifs throughout his career, which
will appear with some frequency in the works featured
throughout this exhibit. Some of these motifs include:
•Hands holding a type of thistle thought to bring luck in
love
•An open-form window with a view of the outside world,
to represent worldly desire or experience
•Court dress to represent social status—occasionally used
ironically, when his subject was not from the suggested
upper class

2. Albrecht Durer
Albrecht Durer the Elder
Oil on wood
1490

3. Albrecht Durer
Albrecht Durer the Elder
Oil on wood
1490
This early portrait of the artist’s father is in all
likelihood an accurate representation of the
subject. As a working class artisan, a goldsmith
by trade, in this portrait Dürer the elder is
dressed modestly and humbly in the clothing of
the lower class: the dark, earthy tones of his
hat, shirt, and cloak represent his position in
German society. The cloak is a functional article
of clothing, worn strictly for warmth and
unadorned with any type of trim, closure, or
decoration.
The folds of the cloak, as well as the vertical
line created by the cloak’s opening, all draw our
eyes downward, to the subject’s hands at the
bottom edge of the portrait. The hands, like
the subject’s face, are also highlighted and
stand out from the darker hues of the rest of
the portrait, emphasizing these features. In this
portrait, the emphasis is on the subject’s hands,
in which he holds a rosary. This seems most
likely to indicate the artist’s piety, or perhaps
the artist’s impression of his subject’s piety.

4. Albrecht Durer
Portrait of Barbara
Oil on wood
1490

5. Albrecht Durer
Self-Portrait
Oil on parchment,
mounted on canvas
1493

6. Albrecht Durer
Self-Portrait
Oil on parchment, mounted on
canvas
1493
Dürer was not the first artist to create
a self-portrait, but he was arguably
the first to use self-portraiture as
prolifically as he did. This youthful
representation of the artist reveals a
young man of just 22, gently
illuminated against the black
background. Once again, the lines of
the portrait draw our eye toward his
hands, which stand out in relief,
demanding our study of them. He
holds a thistle plant for luck in love,
which lends a romantic and whimsical
feeling to the depiction. This is
reflected in the subject’s face, as well:
the dreamy expression, the softly
curved mouth, and the loosely
cascading hair all indicate a
wistfulness and even a naivety about
the world which Dürer had yet to
experience at the time this portrait
was completed.

7. Albrecht Durer
Christ as Man of Sorrows
Oil on wood
1493

8. Albrecht Durer
Dresden Altarpiece (Side)
Oil on canvas
1496

9. Albrecht Durer
Elector Frederick the Wise of Saxony
Tempura on canvas
1496

10. Albrecht Durer
Albrecht Durer the Elder
Oil on limewood
1497

11. Albrecht Durer
Albrecht Durer the Elder
Oil on limewood
1497
This portrait of Durer’s father was painted after the
artist’s first visit to Italy (and thus his first exposure
to Humanist thought). Once again, the subject’s
face is highlighted and stands out from the rest of
the portrait, and the lines of the cloak point our
gaze toward the subject’s hands. The overall
composition seems faded, however: the color
washed out; the brush strokes evident in the
background reflect the harsh lines and slightly down
turned mouth of the subject’s face as he stares
directly outward, his scowling countenance seeming
to accuse or to judge.
In a radical departure from some of Durer’s more
pious works, here his subject’s hands are almost
absent, hidden within the folds of the cloak and
shadowed, conspicuously lacking the brightness of
the flesh depicted in the subject’s face (and also in
both the hands and faces of much of his other
portraiture). Painted just after the artist was
exposed to the Humanist philosophy , Durer seems
to lash out against his former religious-centered
focus. This portrait resents a startling departure
from faith—perhaps even a complete denial of it—
as the subject buries his hands in a tacit refusal of
his religious practice.

12. Albrecht Durer
Young Furleger With Hair Loose
Oil on canvas
1497

13. Albrecht Durer
Young Furleger With Hair Done Up
Oil on canvass
1497

14. Albrecht Durer
Young Furleger With Hair Loose, and
Young Furleger With Hair Done Up
Oil on canvass
1497
The previous two portraits are often cited as two sisters of the
prominent Furleger family, although their identity cannot be
confirmed for a certainty. “Portrait of a Young Fürleger with Hair
Loose” depicts a young woman with her hands folded in prayer,
her gaze lowered in reverence. Her long hair is loose about her
shoulders and uncovered, an indication that she is an unmarried
maiden, as was the custom during the Renaissance. The sister in
“Portrait of a Young Fürleger With Hair Done Up” presents a
marked contrast to the former sister, particularly in light of the fact
that the portraits were completed shortly after Dürer’s return
from Italy. In this portrait Dürer introduces the window as a
positive element of the background. The view through the
window is an open form that gives us just a glimpse of the world
outside of the domestic sphere, indicating that she is more
worldly, and certainly less pious than her counterpart, creating a
comment on the Humanist freedom from religious trappings. She
sees the world beyond her home, and is open to venturing out
into it.
The hands as depicted in these portraits of the two Fürleger sisters
obviously tell us a great deal about them. While the lines of both
of their gowns draw our eye toward their hands, obviously the
more pious sister is using her hands to pray devoutly; the other
sister’s hands are more subtle. She holds the thistle believed to
work as a love charm, further indicating the gap between the
nature of the two sisters.

15. Albrecht Durer
Self-Portrait
Oil on panel
1498

16. Albrecht Durer
Self-Portrait
Oil on panel
1498
This portrait was painted after Durer’s first trip to Italy
and represents a marked change from his more youthful
self-portrait painted just five years before. As a working-
class artist, Dürer would not have dressed in the court
attire featured here. Note the noble white robe and the
cloak, which both fall in folds and are painted with lines
again running toward the hands of the subject. Yet here,
the working class hands are folded sedately and
disguised in the white gloves, another mark of class
distinction. Even the somewhat haughty gaze of the
subject represents a marked departure from the humbly
averted gaze of his earlier subjects.
From this false representation, Dürer seems to be
making a comment on the lasting importance of the
individuality of mankind on the whole, as well as of the
Humanist artists who would usher in this change in
general attitude. One clue to this change in attitude is
the inclusion of the window as a positive element; the
window view is an open form that only hints at the
world at large available to those, like Dürer, who would
venture to experience it. As we see in this self-portrait,
which differs noticeably from Dürer’s 1493 self-portrait,
the trip to Italy changed the artist’s view of both himself
and the larger world, which in turn continued to shape
his Humanist beliefs.

17. Albrecht Durer
Portrait of Hans Tucher
Oil on panel
1499

18. Albrecht Durer
Portrait of Elizabeth Tucher
Oil on panel
1499

19. Albrecht Durer
Portrait of Felicitas Tucher
Oil on panel
1499

20. Albrecht Durer
Oswolt Krel
Oil on panel
1499

21. Albrecht Durer
St Sebastian With An Arrow
Oil on panel
1499

22. Albrecht Durer
Self-Portrait
Oil on limewood
1500

23. Albrecht Durer
Self-Portrait
Oil on limewood
1500
In his 1500 Self-Portrait, Dürer truly reconciles his
burgeoning worldly beliefs with his spirituality,
indicating a significant departure from the
Humanists of Italy. In this portrait, he clothes
himself in a sumptuous, fur-trimmed cloak, though
he never would have owned such a garment on his
working-class salary. With this “disguise,” he is
suggesting that dignity and social standing should
be bestowed on someone not based on their
wealth or birthright, but rather by what they offer
society. He is implying that even a humble artist is
a contributor and has worth.
As with the other portraits featured in this exhibit,
we are again drawn to the highlighted flesh tones
of the subject, as the lines and folds of the cloak
draw our eyes toward his hand. Here it is perhaps
most provocative, particularly when combined
with the daring, Christ-like pose. The hand gently
touching the cloak indicates, “I am.” The artist,
here the subject as well, boldly declares his very
human and spiritual existence. The worker’s
fingers gently caress the sumptuous fur, declaring
his rightful place in the world and inviting us all to
be elevated to the same status.

24. Albrecht Durer
Salvatore Mundi
Oil on linden wood
1503

25. Albrecht Durer
Drummer and Piper Altarpiece
(Fragment)
Oil on wood
1504

26. Albrecht Durer
Christ Among the Doctors
Oil on panel
1506

27. Albrecht Durer
Christ Among the Doctors
Oil on panel
1506
Dürer led the Northern Renaissance movement in
art, and this painting is a clear example of the
ideals which separated the Northern Humanists
from the classic Humanists of Italy. Religion was
the guiding factor in the north, and in particular,
the importance of personal communication with
God—as illustrated with this interpretation of
Luke 2:42-51.
The strange composition of this painting (the
crowding and lack of negative space, as well as
the lack of perspective from an artist who was a
master of perspective) seems intentional, as if
Dürer wanted to impress a sense of futility. Also
somewhat strange is the distorted, ugly depiction
of the learned men who crowd around the 12-
year-old Christ child in a threatening manner, as
they challenge him with their science and reason.
The focal point of the composition is the tangle of
hands highlighted in the center of the painting,
drawing our attention to the Christ figure behind
the barrier created by the jumble of heads, hands,
and books. He is a direct contrast to the frenzied
scholars, remaining calm and serene as he
lectures them on the importance of faith and
spirituality over their books.

28. Albrecht Durer Albrecht Durer
Adam Eve
Oil on panel Oil on panel
1507 1507

29. Albrecht Durer
Old With Purse
Unknown media
1507

30. Albrecht Durer
Old With Purse
Unknown media
1507
This painting is a little referenced portrait
which returns to the expression of
individual worth. This time the subject is a
peasant, perhaps even an outcast of
society: an old woman so poor that she
can’t even afford decent clothing. Yet her
smile is incongruous with her station; she
radiates with happiness. Her lank, silver
hair and the deep lines of her face and
other exposed skin all draw our eye
downward, toward the highlighted hands,
where the large bag of gold coins cannot go
unnoticed.
This purse seems symbolic of the old
woman’s worth: she is not smiling because
she holds the purse, but rather, she holds
the purse because she is rich in a way far
greater than the money itself. Like the
1498 and 1500 self-portraits, Dürer is
elevating the social status of his subject.
This peasant woman is even more common
than the working class artist, but in this
portrait, he is asserting that even she has
great value.

31. Albrecht Durer Albrecht Durer
Emperor Charlemagne Emperor Sigismund
Oil on panel Oil on panel
1512 1512

32. Albrecht Durer
The Madonna of the Carnation
Oil on parchment,
Mounted on pine
1516

33. Albrecht Durer
The Madonna of the Carnation
Oil on parchment, mounted
on pine
1516
Dürer was known for his iconic Madonna
portraiture, of which this is a perfect example.
The Virgin is painted in rich color and
symmetrical beauty, her head adorned with a
halo of muted light. As with the artist’s earlier
paintings, the highlighted flesh tones draw our
attention to the hands of the Madonna and
the Christ child. She holds a carnation, the
symbol of a mother’s pure love, an element
that is reinforced by the red color of the
flower, as well as of her gown and even her
lips. The red carnation additionally represents
the Passion in religious works of art.
During the Renaissance the pear symbolized
the combination of wisdom and sweetness, for
which the Christ child was often credited. (It
would later evolve into a representation of,
specifically, Christ’s love for mankind.) Dürer
often included the pear in his depictions of the
Christ child, but this particular painting
perhaps best reflects the symbolic
combination of the Virgin’s love and sacrifice
with Christ’s love for mankind.

34. Albrecht Durer
Bernhard Reese
Oil on panel
1521

35. Albrecht Durer
Man With Beret and Scroll
Oil on panel
1521

36. Albrecht Durer
St Jerome in Meditation
Oil on panel
1521

37. Albrecht Durer
St Jerome in Meditation
Oil on panel
1521
St. Jerome was a frequent subject for Dürer, but this
particular painting stands out for its very unique
composition. Dürer presents a tight view of his
subject’s upper body, with quite a lot of detail
crammed into the painting. Some clues to his
subject’s servitude as a priest in the Roman Catholic
Church include the red robe, the crucifix on the
wall, and the scripture open in front of him.
The focal point, however, is again tied to his hands,
which our eyes are naturally drawn to amid the
busy composition. His head rests in one hand,
indicating his deep contemplation, while the other
hand points to the skull. The latter visual element
provides a clue to what he is contemplating: death,
and therefore presumably, his life. Although it
seems a morbid subject to modern audiences,
during the Middle Ages and throughout the next
several centuries it was considered prudent for
mankind to meditate on his own life. The question
posed by this meditation seems to be: If death were
to come for me tomorrow, have I lived a life of good
works? Dürer seems to be using St. Jerome as the
example for the rest of society to follow.

38. Albrecht Durer
Four Holy Men
Oil on panel
1526

39. Albrecht Durer
Four Holy Men
Oil on panel
1526
This painting gives us yet another clue to Dürer’s
shifting religious beliefs. The panels seem simple and
straight forward enough: the four figures, sometimes
mistaken for apostles (thought only three of them are
in fact), stand around the scriptures, held in the open
hands of the two figures in the foreground. In the
right panel, our eyes are drawn to the cluster of
hands, where we see the figure in the background is
holding a scroll, and the main figure in the
foreground holds a sword, almost concealed in the
robe as it echoes the vertical lines therein. This
provides a clue to the controversy: this painting was
not commissioned by the church, and in fact would
later be banned as heretical for it is in support of the
growing Protestant religion.
With this final painting, Dürer has come full circle.
He began with portraits that show his subjects’ hands
engaged in the deeply religious practices of the
Roman Catholic Church, but shortly after that we see
the hands of his subjects as tools of autonomy. By
the turn of the 16th century, however, he has
returned to using his subjects’ hands to demonstrate
a deep spirituality, first in support of the church, but
later evolving into the more forward thinking religion
to come out of the Renaissance.