Copyright Dr. Elizabeth Garner All rights Reserved
“A portrait of Dürer’s father, which has always been assumed to be the work of Albrecht the Younger, may in fact be a self-portrait by the master’s father, Albrecht the Elder. If so, it would transform our understanding of the younger artist. He may not have been the isolated genius he is believed to have been, but the son of a talented artist who has gone unrecorded as a painter.
The new theory comes from Stephan Kemperdick, the curator of early German and Netherlandish painting at Berlin’s Gemäldegalerie. Kemperdick then suggests two possibilities. Could the young Dürer have based the painting on his father’s silverpoint drawing?” http://www.theartnewspaper.com/articles/Was-Drers-father-a-fine-artist-too/31141
Painting of the mother, Barbara, the paired painting to the 1490 Portrait of Albrecht Dürer the Elder done by Albrecht Dürer the Younger, as was the father’s painting.
This is HOW IT’S DONE. GERMAN CURATORS MAKE STUFF UP AND THEN PUBLISH IT AS IF IT WAS TRUE BECAUE THEY CAN.
The silverpoint of Dürer’s father is only ATTRIBUTED to Albrecht Duerer the Elder and the OPERATIVE WORD IN QUESTION IS “ATTRIBUTED.” There is NO reason whatsoever for any art historian to attribute this silverpoint to the father, they just do it because they CAN.
There is absolutely NO PROOF WHATSOEVER of Albrecht Duerer the Elder’s work of any kind being authentically provable, no gold work, no works at all, NOTHING, and the Germans KNOW THAT. The only authentic document or any object of any kind that can be proved to be from Albrecht Dürer the Elder is ONE WRITTEN LETTER found 1882 behind the paneling in the family home “unter der Vestern.” That letter was written by the elder Dürer to his wife and children from the old Kaiser’s retirement retreat in the fortress at Linz. It is dated August 24, 1492 AND THE GERMANS KNOW THAT.
It’s very strange, as I have written before, that everything that is authentic in writing from any Dürer as letters always ended up walled up behind walls, for apparently SECRETS were going on the Dürers knew about and were afraid of, and the potential villain, Willibald Pirkheimer (the ten letters from Venice were found hidden behind plaster at his mansion) AND so did Pirkheimer at least.
Even worse, I’ve already proved to you all here in other articles that the supposed “Family Chronicle” autobiography is a fake based upon the published Bell Ringing death registries of 1437-1517, published by Nuremberg itself, which no one bothered to analyze.
“According to Albrecht the Younger’s family chronicle, his father, a goldsmith, spent a long time among Netherlandish “künstlern” before he arrived in Nuremberg in 1455. Scholars have debated whether the German word “künstlern”, in this context, refers to goldsmiths or fine artists. Kemperdick points out that a recent infra-red examination shows that the portrait of Dürer’s father originally had a window in the background—a feature of Netherlandish pictures. It was later painted out by the artist.”
The curator argues that Albrecht the Elder developed his skills as an artist in the Netherlands but worked as a goldsmith on his return to Germany.”
Except that could have never happened, as I have been able to prove with these death registries.
But what makes this article and speculation on the part of this German curator so egregious IS THAT THIS IS AN OLD OLD THEORY tossed away by other scholars for good reasons (like no proof). It was first brought up in 1911, then in 1932, then again in 1952. Nobody bought the theory then and no one should buy the theory now.
Finally,the GIANT news is supposed to be “that a recent infra-red examination shows that the portrait of Dürer’s father originally had a window in the background—a feature of Netherlandish pictures.” Well, it turns out there’s many more portraits done by the Albrecht and Margret which originally had windowsills painted in the original portrait, that were overpainted by people trying to hide information they were passing on, jealous collectors, and bad conservators.
Seems to me a ploy for raising funds for more x-ray photographic equipment funding and endless more opportunities to ignore and hide the truth. Endless more money streams for exhibitions based on NOTHING.
Didn’t we just see that with the whole Gurlitt WWII art stash the GERMANS sat on for two years in the last two months?
It’s ALWAYS ABOUT THE MONEY. AND THE GERMANS DON’T WANT THE TRUTH OUT.