Albrecht

Dürer traveled extensively throughout his

lifetime as an artist. He spent time working in the
Netherlands. He worked in Basle on the Upper Rhine
where the university there had the blessing of the

Dürer Humanist Pope Pius II. Later He would journey

to Paris, Venice where his reputation flourished, to
Bologna, Florence and Rome where he met Raphael.

and
There is evidence he worked in the Venice workshop
of Gentile and Giovanni Bellini and was influenced by
Andrea Mantegna who was married to Bellini’s sister.3
Albrecht Dürer was a leader in many artistic

“Christ innovations. He did the first study of a nude figure

north of the Alps, Female Nude, 1493. His water-
colors were among the first “landscape” paintings in

Among the
German art. He sought what we now call copyright
protection of his prints to prevent them from being
copied and sold.4

Doctors”
Not only a designer of woodcuts and etchings, a
painter, watercolorist, type designer (Fractur), but
also author of his own art instruction book. In it he
wrote: “…The German painters…are not inferior
to anyone in the use of color, but they have shown
An essay by Thomas Weil themselves wanting in the arts of proportion, perspec-
tive and such like…. Without proportion no picture

A lbrecht Dürer was the son of a goldsmith, born in

Nuremberg, Germany on May 21, 1471. The time
in which Albrecht lived the classic medieval education
was the “Trivium.” The Trivium consisted of three
categories: grammar, dialectic and rhetoric. The focus
of grammar was vocabulary, categories and repeti-
tion, dialectic developed reasoning skills, rhetoric
honed communication abilities. This was the kind
of education Albrecht recieved and he also became
skilled in Latin and religion. At that time a number
of clerics residing in Nuremberg where well versed
as Humanists, and NeoPlatonic ideas were prevalent.
Many well to do people owned Bibles and prayer
books printed in their own German language.1
At the age of 13 Dürer drew his first known self
portrait. He was apprenticed to the Nuremberg
painter Michael Wolgemut’s workshop when he was
sixteen. He became skilled in making wood cuts
as well as drawing and painting. The quality of the
portraits he painted of his father and of his mother,
done in 1490 were said to surpass that of his teacher
Wolgemut and even all Germany up to that time.2 Above: Study of Head of Christ, Vienna, Albertina.
Overleaf: Dürer Fractur type design.
can be perfect, even if it is executed with all possible
care…. It is necessary for all those who wish to grasp
this art (of painting) first thoroughly to learn the art
of proportion and how to draw things in plan and in
perspective…. What is quite simple cannot be truly
artistic, and what is artistic demands diligence, dedi-
cation, and work, if it is to be understood and mas-
tered. If a work is incorrectly designed, then however
great the care and diligence spent on it the work is
in vain; whereas one which is correctly proportioned
can never be criticized by anyone.” Proportionslehre
(Dedication) 1528.5
Albrecht Dürer was by all accounts a very likable
man. He maintained friendships throughout his life.
A devout Christian, a faithful and providing husband,
though he and his wife Agnes did not have children.
While living in the Netherlands he contracted what
probably was malaria and died several years later, on
April 6, 1528 just before he turned fifty-seven.
“If a work is
incorrectly designed,
then however great the
care and diligence spent
on it the work is in vain;
whereas one which is
correctly proportioned
can never be criticized
by anyone.”
T he story behind Dürer’s painting is about Jesus
when he was twelve years old “sitting among
the teachers, listening to them and asking them
questions.” From the Gospel of Luke, who carefully
records the events in the life of Jesus with reference
to the Old Testament prophesies, tying the Old and
New Testaments together with the Law of Moses and
the prophets. Luke provides the most complete narra-
tive of the life of Jesus of Nazareth who is believed to
be the Messiah, that is the “Anointed One.”
It may be assumed that His parents Joseph Study of Hands, 1506, pen and ink heightened
and Mary both knew the prophesies and had been with white on paper, 206 x 185 mm, Blasius
taught the Torah as well as all the scriptural writings Collection, Braunschweig.8
up to that time and along with their synagogue and
local community, taught their children these things.
Though there may be debate whether women were
allowed to read the scriptures or not, we have in what
is called her “Magnificat” evidence that Mary knew
her scriptures. (Luke 1: 46–55)6 All this is to say
that Jesus learned very well what was written in the
Hebrew scriptures. Additionally there is every indica-
tion that by age 12 Jesus recognizes Himself in the
prophesies of the scriptural narratives. Here is Luke’s
story as it relates to Albrecht Dürer’s painting:
“Every year his parents went to Jerusalem
for the Feast of the Passover. When he was
twelve years old, they went up to the Feast,
according to the custom. After the Feast was
Study of Hands, 1506, brush on blue paper,
over, while his parents were returning home,
24.8 x 41.6 centimeters, now in the
the boy Jesus stayed behind in Jerusalem, but
they were unaware of it. Thinking he was
Germanisches Nationalmuseum,
Nuremberg, Studies, probably done in
in their company, they traveled on for a day.
Then they began looking for him among their
Venice prior, we can see one set of the
relatives and friends. When they did not find
him, they went back to Jerusalem to look
two sets of hands holding books which
were used for this painting. 9
for him. After three days they found him in
the temple courts, sitting among the teach-
ers, listening to them and asking them ques-
tions. Everyone who heard him was amazed
at his understanding and his answers. When
his parents saw him, they were astonished.
His mother said to him, “Son, why have you
treated us like this? Your father and I have
been anxiously searching for you.”
“Why were you searching for me?” he asked.
“Didn’t you know I had to be in my Father’s
house?” But they did not understand what he
was saying to them.
Then he went down to Nazareth with them
and was obedient to them. But his mother
treasured all these things in her heart. And
Jesus grew in wisdom and stature, and in favor
with God and men.” (Luke 2: 41-52 NIV)7
Dürer spent some time in Florence before
going to Rome. “It must have been there that he first
saw the works of Leonardo and the young Raphael
which had such a decisive influence on his own work.
Leonardo was then in Milan, but his pupils and his
workshop remained in Florence. Dürer’s tracings of
studies of human anatomy by Leonardo were pre-
sumably made at this time. And it is almost certain
that he saw caricatures by Leonardo, because there is
a definite echo of them in his painting Christ Among
the Doctors…”10
W ithout knowing what Dürer was intending to
portray in this painting, it could be viewed as
a somewhat hostile environment for the young Jesus.
Reading Luke’s Gospel account and taking the nar-
rative at face value it could be said that the three day
discussion was amiable, rather than a debate which
would come later in His ministry with the Pharisees.
Here however, it looks more like Jesus is surrounded
by six learned but contentious men. Alberti’s Istoria
is evident in the sense that this painting is a view of
a documented event. Dürer’s use of imagination and
invention can be seen where the doctors are wearing
hats contemporary to the artist’s time and holding
bound books instead of scrolls. These teachers would
have known the Torah and subsequent writings by
memory. They would have invested a lifetime of study
and to engage in deep philosophical topics with this
twelve year old boy, who probably kept up with them
at every detail would be amazing to them.
I am not sure that is what I am looking at here.
It is possible that Jesus has introduced another inter-
pretation to their ideas of what the scriptures mean
as He certainly did much later. He is making a point
here. His gesture, pointing His index finger on His
thumb clearly indicates this. All the fingers on His
left hand are extended as if He has several points to
make. His expression, even body language is contem-
plative. He is not threatened by these learned doctors
of theology, but rather calmly engaging.
If there is contention here it is immediately to
Jesus right. The rabbi has his left hand on Jesus arm,
his right hand reaches in as to interrupt the thought
process Jesus is attempting to make, by force. His
knarled Leonardo-caricature expression may even
be about to say something in Jesus’ ear.11 He is the
most animated and aggressive figure in the picture.
Even their complexion is different, Jesus is warmer,
His hair is rudy (like King David before Him). The took care to note it may imply many possibilities.12 misguided activities Albrecht Dürer will embrace
paler skin of the rabbi is in contrast with more of a There are plenty of occurrences in the Gospels where that fresh Biblical approach. Perhaps Christ Amongst
colorless hue. Jesus may even be turning His head Christ as a mature and confident adult confronted the Doctors was a commentary on the church in Rome
away to avoid such close contact with the contention the Scribes and the Pharisees, and with good reason. as Albrecht saw it at that time. E
being argued. After Martin Luther confronts the Church for her
The rabbi at Jesus’ right front seems attentive,
both of his hands rest on the book which is closed
though bookmarked. The aggressive character’s ears
are covered, as if not to hear what Jesus could possibly
have to say, while the restful teacher’s ear is either
hardened and calloused or just large and old. Perhaps
he has heard a lot in his lifetime. Directly behind him
is a younger teacher who is either confirming what
has been said or looking for documentation to back
up the argument. Between and behind another face is
seen younger still. He may be puzzled or even angry
and he seems to be looking past everyone out toward
us as we look in. To the far right rear of Jesus another
dark face listens. He could be another doctor or could
he be interpreted as the devil? His complexion is very
red and he could be influencing the animated rabbi.
Then the elder doctor has his book open perhaps to
show this young boy where their authority comes
from. His gaze is directed away as if waiting for his
opportunity to speak.
This painting does seem to depict contrast
even conflict between the youthful Christ and the
older doctors. It could be said that unbeknownst to
these teachers the very author of these books stands
amongst them, the light of the world. This could be a
subtle depiction of splendor from Dürer.
Plato wrote that art is imitation and is removed
from reality, I think this can be justified looking at
this painting in comparison to the reading of Luke. Christ Among the Doctors, painted in Rome and signed: 1506/A.D./ROMAE/opus quinque dierum. It is thought that the
reference to five days represent how much time Dürer spent painting this work. It is oil on panel, 65 x 80 centimeters, and
The story is removed from reality in that there was
in the Thyssen-Bornemisza Collection, Lugano-Castagnola.
no indication of conflict, rather the opposite between
Christ and the Doctors. I think, in reality, they were
fascinated as well as amazed at Jesus’ grasp of the 1. Anzelewsky, Fedja. Durer His Art and Life, Translated by Heidi 7. Ibid.
Grieve New York: Alpine Fine Arts Collection 1980, pp. 15-19
scriptures. Dürer has not only made something 8. Anzelewsky p. 132
2. Ibid., p. 23
removed from reality as a copy, but he has altered the 9. Anzelewsky p. 128
copy so that it projects an entirely different reality. 3. Ibid., pp. 48-51
10. Anzelewsky p. 128
The interpretation of this painting where Christ 4. Ibid., pp. 37, 146
11. Panofsky, Erwin. The Life and Art of Albrech Durer, Princeton,
is in contrast with the established, worldly doctors 5. della Chiesa, Angela Ottino. The Complete Paintings of Dürer. Intro- NJ: Princeton University Press, 1955, p. 114
duction by Alistair Smith; notes and catalogue by [translated from the
arguing for their status quo with their books and Italian]. Gijsen, Marnix: 1899, p. 14
12. Russell, Francis. The world of Durer, 1471-1528, New York: Time,
Inc. 1967, p. 82
intimidating behavior easily can be observed. That 6. The Holy Bible: New International Version (NIV). Copyright ©
Dürer completed this work in only five days and 1973, 1978, 1984 by International Bible Society