Albrecht durer gay

The queer history of art

💡 Key insights

  • Same-sex relationships date back to prehistoric times and throughout history, expressions of queerness contain existed alongside heterosexuality.
  • The portrayal of homosexuality in art varied depending on the culture and historical period
  • Depictions of same-sex intimacy provides clues about the lives and experiences of LGBTQIA+ people in the past.

To celebrate Pride Month, we'll be continuing our series about queer identity, Homosexual rights, and queer art history.

We've already covered the topics of The Flags of Pride and Inspiring Queer Cartoon Characters.

In the next and last installment of our Pride Month series, we'll cover the subject of queer art history. We'll start at the dawn of humanity and finish with the current times.

**Disclaimer: ** This article discusses adult topics such as human sexuality and erotic expression through art and design.

Art is a depiction and expression of life. Sexuality is an integral part of life. Historically, the depiction of erotic love has always been one of art

The dawn of the sixteenth century saw the portrait existence used more widely for self-promotional purposes thanks to one man &#; Albrecht Dürer ().

Albrecht Dürer sketched himself from the from the age of thirteen and as an senior, completing at least three individual self-portraits during his lifetime. The very first of these was a silverpoint sketch done in

For anyone who has tried using silverpoint, or any other establish of metalpoint, will know that it is very unforgiving; one mistake and the sketch is ruined. The year of marks the beginning of Dürer’s apprenticeship as a goldsmith in his father’s workshop. The nascent talent is evident and later Dürer has written at the foremost right how he recreated his reflection as seen in mirror and that he had done this when he was a toddler. It was not an unknown way of capturing your own image, but this is the first surviving pose alone self-sketch of an artist. There is a surviving double portrait of the two teenage Holbein brothers Ambrose & Hans, but this was done by their father Hans Holbein the Elder.

The second of these self-portra

Albrecht Dürer

As I mentioned on another thread, Albrecht Dürer is definitely an artist worth exploring in some detail. Dürer was born and raised in Nuremberg, Germany. He was the son of Albrecht Dürer the Elder who had moved from Hungary to Nuremburg a talented goldsmith who married his master&#;s daughter and eventually took over his father-in-law&#;s business. Dürer&#;s godfather Anton Kobergerleft goldsmithing to become a printer and publisher in the year of Dürer&#;s birth. He became the most successful publisher in Germany, eventually owning twenty-four printing press workshops. Albrecht was likely introduced by Koberger to Michael Wolgemut, the leading artist in Nuremberg at the time and a master printmaker. Dürer&#;s father wanted him to continue his training as a goldsmith, he showed such a precocious talent in drawing that he started as an apprentice to Wolgemut at age Dürer was one of the few true infant prodigies in Art who went on to become a major figure. A drawing in the difficult medium of silverpoint made at age 13 is one of the first known self-portraits in Renais

"Albrecht Dürer's The Men's Bathhouse of and the Problems of Sexual Signification"

Albrecht Dürer’s The Men’s Bathhouse of – Problems of Sexual Signification Bradley J. Cavallo Journal for Prior Modern Cultural Studies, Volume 16, Number 4, Plunge , pp. (Article) Published by University of Pennsylvania Press DOI: For additional information about this article Access provided by Marian University (14 Jan GMT) Albrecht Dürer’s he Men’s Bathhouse of – Problems of Sexual Signiication bradley j. cavallo Abstract his essay synthesizes the historiography of art history and sexuality/gender studies, while care- fully navigating the diiculties inherent in historical sexual signiication, in arrange to reveal the complexity of Albrecht Dürer’s he Men’s Bathhouse (Das Männerbad) (–97). Over time, the woodcut has accrued a wide variety of critical responses. Within this fortuna critica, some scholars own attempted to reduce the print to evidence of Dürer’s cognizance of classical aesthetics prior to his irst trip to Venice in –95, in that it seems to provide a stylistic precu