
Albrecht DürerAlemanha, 1471–1528Será possível contemplá-la?
Cleveland, Estados Unidos
Pertence à coleção, mas de momento não está exposta.
Coleção: Galeria Nacional de Arte, Washington, D.C.
Even though Dürer entitled this work Ercules, the narrative of the representation remains highly debated. The most recent interpretation suggests that Dürer adapted the scene from an obscure Roman tragedy, one he may have learned through his humanist friends. The story describes how prior to Hercules’ first heroic labor, the goddess Juno incited within him a monstrous rage. This resulted in the killing of a tyrant, seen under Hercules’ left foot, and the murder of his own family, represented here by his frightened wife Megara. A maniacal old woman-a Fury, goddess of vengeance and the embodiment of Hercules’ rage-prepares to assail Megara with an animal jawbone. According to this reading then, women are the source and manifestation of Hercules’ murderous wrath, an obvious contrast to his later heroism.
Galeria Nacional de Arte
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Museu de Arte de Cleveland · 2 de out. de 2026 — agora · Verificado
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Galeria Nacional de Arte · 29 de set. de 2026 — 2 de out. de 2026 · Verificado
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Museu de Arte de Cleveland · 29 de set. de 2026 — 29 de set. de 2026 · Verificado
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Galeria Nacional de Arte · 29 de set. de 2026 — 29 de set. de 2026 · Verificado
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Museu de Arte de Cleveland · 28 de set. de 2026 — 29 de set. de 2026 · Verificado
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Galeria Nacional de Arte · 28 de set. de 2026 — 28 de set. de 2026 · Verificado
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Museu de Arte de Cleveland · 27 de set. de 2026 — 28 de set. de 2026 · Verificado
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Galeria Nacional de Arte · 27 de set. de 2026 — 27 de set. de 2026 · Verificado
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Museu Estatal de Amesterdão · 26 de set. de 2026 — 27 de set. de 2026 · Verificado
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Galeria Nacional de Arte · 26 de set. de 2026 — 26 de set. de 2026 · Verificado
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Museu de Arte de Cleveland · 25 de set. de 2026 — 26 de set. de 2026 · Verificado
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Museu Estatal de Amesterdão · 30 de ago. de 2026 — 25 de set. de 2026 · Verificado
c. 1492 – 1494
Basel: woodcuts for the printers
In Basel, a centre of printing, Dürer stayed with Georg Schongauer. A woodblock for the title page of the Letters of St Jerome (1492), signed with his name on the back, led to the works of the “Master of the Bergmann Press” being attributed to him; he may also have worked on the woodcuts for Sebastian Brant's Ship of Fools.
July 1494
Marries Agnes Frey
Soon after returning to Nuremberg the 23-year-old Dürer married Agnes Frey, daughter of a prominent brass worker and amateur harpist; the match had been arranged in his absence, and marriage was required to open a workshop of his own. They had no children, and his letters suggest the marriage was not a happy one.
7 de julho de 1494
Married: Agnes Dürer
1494–1495
First journey to Italy
Within three months of the wedding Dürer left alone for Italy, perhaps fleeing an outbreak of plague in Nuremberg. Crossing the Alps he made watercolour landscapes; in Venice he studied its art and judged Giovanni Bellini the best of its painters; Mantegna and Pollaiuolo left their mark on him.
1495
Opens his own workshop
Dürer opened his own workshop in Nuremberg, where over the next ten years he created much of his printmaking. His godfather, the publisher Anton Koberger, helped issue the first series; the city's crafts were governed by the Council rather than guilds, leaving him free to try new techniques and sell his own impressions.