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Praying Hands (German: Betende Hände), also known as Study of the Hands of an Apostle (Studie zu den Händen eines Apostels), is a pen-and-ink drawing by the German printmaker, painter and theorist Albrecht Dürer. The work is today stored at the Albertina museum in Vienna, Austria.
Fedja Anzelewsky: Albrecht Dürer. Das malerische Werk. Deutscher Verlag für Kunstwissenschaft, Berlin 1971, ISBN 3-871-57-0400. 2nd edition in two volumes, 1991, ISBN 3-871-57-1377. Norbert Wolf: Albrecht Dürer, Prestel, München 2010, ISBN 978-3-7913-4426-3.
The Complete Engravings, Etchings and Drypoints of Albrecht Durer. Mineola NY: Dover Publications, 1973. ISBN 0-486-22851-7; Borchert, Till-Holger. Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530. London: Thames & Hudson, 2011. ISBN 978-0-500-23883-7; Wolf, Norbert. Albrecht Dürer. Cologne ...
Lista de obras de arte de Albrecht Dürer; Mãos que Oram (Dürer) Usage on sr.wiktionary.org Викиречник:Википројекат 1001 арапска реч/Индекс речи; Usage on sv.wikipedia.org Helleraltaret; Usage on tr.wikipedia.org Praying Hands (Dürer) Usage on uk.wikipedia.org Європейське мистецтво
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Durer also placed quotations from Luther's translation of the German New Testament on the panel beneath the Apostles. [1] Dürer's commitment to his new Protestant identity is further evidenced by placing the saints Paul and John, who were believed to be the most influential to Luther, at the foreground of the painting.
Pilate washing his hands: 242 B. 36 C. D. 80 106 c. 1509-1510 Small Passion: Christ bearing the Cross: 243 B. 37 C. D. 81 107 1509 Small Passion: The Sudarium of St Veronica: 244 B. 38 C. D. 82 108 1509 Small Passion: Christ being nailed to the Cross: 245 B. 39 C. D. 83 109 c. 1509-1510 Small Passion: Christ on the Cross: 246 B. 40 C. D. 84 110 ...
Preparatory drawing. Hands of Maximilian.In Feast of the Rosary, Dürer shifted the hands closer together, so that his left hand overlapped his right palm. [2]The work was initially commissioned by Jakob Fugger, an intermediary between emperor Maximilian I and Pope Julius II, during the painter's stay as the banker's guest in Augsburg, though it was produced whilst the painter was in Venice.