Large Triumphal Carriage of Maximilian I by Albrecht Durer

Large Triumphal Carriage of Maximilian I c. 1518 - 1522

print, woodcut

light pencil work

germany

quirky sketch

print

pencil sketch

sketch book

personal sketchbook

sketchwork

pen-ink sketch

woodcut

sketchbook drawing

storyboard and sketchbook work

sketchbook art

Albrecht Dürer's "Large Triumphal Carriage of Maximilian I" (c. 1518-1522) is a woodcut print that depicts the Holy Roman Emperor Maximilian I riding in a magnificent carriage drawn by four horses. The artwork is a celebration of Maximilian's power and authority, which is emphasized through the use of allegorical figures and symbols. The scene is set against a backdrop of the city of Augsburg, where Maximilian's court resided. Dürer's meticulous attention to detail and masterful use of shading create a sense of grandeur and realism. The image features the allegorical virtues of “Magnanimity” and “Audacity” that are crucial to Maximilian’s rule. It remains a significant example of northern Renaissance art and a testament to Durer’s artistry.

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minneapolisinstituteofart about 1 year ago

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Dürer's magnificent allegorical design for the Imperial chariot was originally commissioned in 1512 as the centerpiece of Maximilian's Triumphal Procession, one of the most ambitious projects in the history of the graphic arts. Dürer's elaborately embellished carriage was intended to form the climax of the entire procession, showering the Emperor in personal glory, while underscoring his dynastic power. The final fully elaborated drawing for the woodcut was completed only in 1518, and the woodcut remained unfinished at the time of the Emperor's death in 1519. In 1522, Dürer published the Triumphal Chariot himself as an independent woodcut dedicated to the Emperors Maximilian and Charles V. The print differs from the original design in the addition of printed text explaining the various symbolism of the work and a short history of its production. Dürer also omitted the Emperor's family from the composition, for after Maximilian's death it seemed fitting to interpret his "triumph," not as a dynastic manifesto but as a personal apotheosis.