THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
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2. Albrecht Dürer (1471-1528) Five Lansquenets and an Oriental on Horseback |
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(click on image to print)
Five Lansquenets and an Oriental on Horseback
Engraving, ca. 1495, Bartsch 88, Meder 81 a (of e). A fine, early impression on laid paper trimmed on the borderline, which is visible in places on all sides, the image complete. There are small losses and restorations, but all of them, happily, in blank paper; thin spots, some with old reinforcement. The work is one of Dürer’s earliest engravings and though the composition is clearly an arranged one, the subject matter, mercenary soldiers, would have been familiar to Dürer and his contemporaries. The German Landsknechten roamed the countryside and were employed to fight by all the powers in Europe, frequently battling each other. Even in this early work, Dürer’s faces and attitudes reflect individual personalities and the textures of dress and vegetation are clearly delineated.
