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

pencil sketch

sketch book

personal sketchbook

sketchwork

pen-ink sketch

woodcut

sketchbook drawing

storyboard and sketchbook work

sketchbook art

This woodcut print, titled "Large Triumphal Carriage of Maximilian I", was created by the renowned German artist Albrecht Durer between 1518 and 1522. It depicts a powerful horse pulling a chariot driven by a triumphant figure representing the Holy Roman Emperor Maximilian I. The intricate detail and bold lines are characteristic of Durer's masterful skill as an artist, and the work itself is a testament to his technical prowess and artistic vision. The inscription in the print illustrates the symbolism of the artwork and details the attributes of the figures on the chariot and their relation to Maximilian. The piece is a masterpiece of Renaissance art and a powerful testament to the strength and power of the Holy Roman Empire. The image itself is highly detailed, and Durer's use of light and shadow creates a sense of depth and realism. The overall effect is one of grandeur and majesty, reflecting the power and prestige of 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.