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The naturalism of Albrecht Dürer’s Young Hare (1502) is too often described as scientific. Certainly if its nose appeared to twitch, you might not be quite sure whether your mind was playing tricks on you, but these hallucinatory effects come less from anatomical accuracy than from Dürer’s canny deployment of tone and colour. In fact, analyse the hare up close and the details can seem sparing. After sketching a silhouette, Dürer filled it with brown and grey watercolour to produce a fur that was abstract and fluid. The details came later, stroke by stroke, until only the essential aspects of structure and depth emerged. In August I got the chance to see this for myself when I was invited into the high-security depot of Vienna’s Albertina, or the hare’s ‘hutch’. Held captive there among a collection of some 130 or more Dürer drawings, it has only been let loose three times in as many decades. It is now on public display again, joining more than 200 works of art and writing for the Albertina’s new Dürer retrospective. |
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Hare, 1502 - Albrecht Dürer Large Framed Print
Framed With Mat •
33x36 inches
Hare, 1502 - Albrecht Dürer Large Framed Print
Framed With Mat •
36x39 inches
Hare, 1502 - Albrecht Dürer Large Framed Print
Framed With Mat •
48x53 inches
The naturalism of Albrecht Dürer’s Young Hare (1502) is too often described as scientific. Certainly if its nose appeared to twitch, you might not be quite sure whether your mind was playing tricks on you, but these hallucinatory effects come less from anatomical accuracy than from Dürer’s canny deployment of tone and colour. In fact, analyse the hare up close and the details can seem sparing. After sketching a silhouette, Dürer filled it with brown and grey watercolour to produce a fur that was abstract and fluid. The details came later, stroke by stroke, until only the essential aspects of structure and depth emerged. In August I got the chance to see this for myself when I was invited into the high-security depot of Vienna’s Albertina, or the hare’s ‘hutch’. Held captive there among a collection of some 130 or more Dürer drawings, it has only been let loose three times in as many decades. It is now on public display again, joining more than 200 works of art and writing for the Albertina’s new Dürer retrospective.
Albrecht Dürer was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints.
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