Albrecht Durer-Saint Jerome in His Study: In this engraving done in 1514 Durer depicts Saint Jerome hard at work at a desk. He appears to be reading or inditing some document that is very engrossing. He does not seem to descry the lion or the canine that are near the foot of his desk. A skull is optically discerned on the left side of the engraving sitting on the window ledge facing the interior of the room. It appears as though there is an imaginary line from Saint Jerome’s head to the cross that culminates at the skull, it is believed that this designates the contrast between death and the Resurrection. The canine is a symbol of adhesion often depicted in Durer’s works, while the lion is a component of the iconography of Saint Jerome. This engraving is often grouped with two other Durer engravings that betoken the three spheres of activity apperceived in Medieval times. Durer was an accomplished engraver, painter, printmaker, mathematician, and theorist.
Albrecht Durer-Self Portrait at Age 28: This self-portrait was painted in 1500 shortly afore Durer’s 29th day of inchoation. In the painting Durer is visually perceived in a Christ like pose where he directly faces the viewer. Traditionally at the time this particular pose was reserved for portraits of Christ and typically artists would surmise a three quarters pose with the artist conventionally facing the right of the viewer. Durer’s visible hand is perhaps one of the most striking components of the painting, the placement can be thought of as pointing to the sacred heart of Christ. It should withal be noted that the placement of the fingers can be optically discerned as an “A” and a “D” betokening Albrecht Durer or Anno Domini. The set of Durer’s ocular perceivers and the open veracity exhibited in his features further makes his portrait appear “Christ-like”.
Rembrandt-Christ Preaching: Also kenned as the “Hundred Guilder Plate” for the supposed price that was paid for this beauteously done print. The artist depicts Christ preaching to a Jewish crowd on the sanctity of Childhood. The print is believed to be a compilation of events taken from the 19th chapter of the Gospel of Saint Matthew. Many references are made within the print: The Pharisee at the far left that endeavor to incite Christ, The Women and Children who approach to receive his word, the Affluent man and the Camel in the doorway representing the arduousness of the affluent entering Heaven, and the sick and injured seeking rejuvenating on the right side. Christ is most definitely the focal point of the image with the halo drawing further attention to his consequentiality. It is believed that Rembrandt took a considerable duration to consummate the engraving but consummated it around 1649. Rembrandt was born into an astronomically immense Dutch family and was a practicing master by the age of 19.
Mary Cassatt-Woman Bathing 1891: This is a print of a woman bathing at a dresser with a mirror above it....