Large Triumphal Carriage of Maximilian I by Albrecht Durer

Large Triumphal Carriage of Maximilian I c. 1518 - 1522

print, woodcut

germany

quirky sketch

print

pen sketch

sketch book

personal sketchbook

sketchwork

pen-ink sketch

woodcut

pen work

sketchbook drawing

storyboard and sketchbook work

sketchbook art

Albrecht Dürer's "Large Triumphal Carriage of Maximilian I" (c. 1518-1522) is a masterful example of woodcut, showcasing the artist's unparalleled skill. This particular print, part of a series of 19, portrays the allegorical figure of "Oportunity" (Opportunity) guiding a chariot with "Alacritas" (Cheerfulness) in the foreground. The intricate details and rich symbolism, typical of Dürer's work, offer insight into his understanding of classical and biblical themes. The dramatic use of light and shadow adds depth to the composition, further emphasizing the power and significance of the figures and the grandeur of the chariot. This captivating scene serves as a visual allegory for the ideals and aspirations of the Holy Roman Emperor Maximilian I.

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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.