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''Portrait of Dürer's Father at 70'' (or ''The Painter's Father'') is a 1497 oil on lime painting attributed to the German painter and printmaker Albrecht Dürer, now in the National Gallery, London. Along with the 1490 ''Albrecht Dürer the Elder with a Rosary'', it is the second of two portraits of the artist's Hungarian father Albrecht Dürer the Elder (1427–1502). The sitter's similarity to the earlier portrait, as well to a 1486 silverpoint drawing believed to be a self-portrait by his father, leave no doubt as to his identity.〔Bailey, 58〕〔There are no surviving sources referring to Dürer's portraits of his father from the artist's lifetime, however the connection was well made by the end of the 1500s.〕 The London panel is thought to be one of a number of copies of a lost original.〔Susan Foister〕 It is in poor condition, having suffered paint loss in the background and in areas of the cloak. It was cleaned in 1955, revealing especial quality in the description of the face, leading some to believe that it is a Dürer original.〔 However this claim is not made by the National Gallery who display it as "attributed to Albrecht Dürer".〔Wieseman, Marjorie. "('The Painter's Father', 1497 )". National Gallery, London, 30 June 2010. Retrieved 7 August 2011.〕〔 Although a master goldsmith and well traveled, Albrecht the elder lived in poverty all his life. With his much younger wife Barbara Holper, he fathered 17 children, of which only two reached adulthood. He died in 1502, five years after this portrait was completed. He was supportive of his son's precocious talent and recognised it from an early age, sending him to apprenticeship with Michael Wolgemut, one of the highest regarded painters in Nuremberg at the time. From his travels Albrecht sr. came into contact with the second generation of northern renaissance painters, and through them passed on a key influence on his son's artistic development. Dürer painted two portraits of his father, one from April 1490 -the month before he left on his travels as a journeyman painter- and ''Portrait at 70'' just after his return home to Nuremberg. Following his father's death the artist wrote an affecting eulogy in which he said that in his life the older man "underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him".〔Sturge Moore, 36〕 ==Albrecht Dürer the Elder== Following his father's death five years after this portrait was painted, Dürer wrote that Albrecht the elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children, so that he had little enough. He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him for he lived an honourable Christian life, was a man patient of spirit, mild and peaceable to all and very thankful to God. For himself he had little need of company and worldly pleasures; he was also of few words, and was a God-fearing man."〔 He was born Albrecht Ajtósi in 1427 in Ajtós, near the village of Gyula in the Kingdom of Hungary.〔Sturge Moore, 35〕 In 1455 had moved to Nuremberg and changed his name to Dürer to adapt to the local Nuremberg dialect. He took up an apprenticeship as a goldsmith under the tutelage of Hieronymus Holfer. In 1467, the year his apprenticeship ended, he married Barbara, Holfer's 15-year-old daughter. The couple had 18 children, only two of whom survived into adulthood.〔Brion, 16〕 Albrecht traveled a great deal, and came into contact with the Netherlandish painters while in Flanders. While there he was exposed to the work of both Jan van Eyck and Rogier van der Weyden, and developed a strong appreciation for them which he passed on to his son, whose art displays a large debt to these painters.〔Brion, 17〕〔Von Fircks, Julian. "Albrecht Dürer the Elder with a Rosary". In: Van Eych to Durer. Borchert, Till-Holger (ed). London: Thames & Hudson, 2011. 419. ISBN 978-0-500-23883-7〕 From his father, Dürer learned to appreciate the fine, almost forensic, attention to realistic detail favoured by the northern painters, as well as their use of brilliant colour. These lessons were key to the young artist's development, and set him apart from his fellow German artists whose work can often feel crude and heavy-handed by comparison.〔 Albrecht apprenticed his son to Michael Wolgemut,〔Dürer later described Wolgemut as his 'second father'. Brion, 39〕 a painter also aware of the northern artists, when he was 14. Already the young artist was showing such potential that his father believed he should be trained by the best local master available.〔Brion, 21〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Portrait of Dürer's Father at 70」の詳細全文を読む スポンサード リンク
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