An essay by Thomas Weil

Albrecht 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

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 Humanist Pope Pius II. Later He would journey to Paris, Venice where his reputation flourished, to Bologna, Florence and Rome where he met Raphael. 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 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 German art. He sought what we now call copyright protection of his prints to prevent them from being copied and sold.4

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 themselves wanting in the arts of proportion, perspec-tive and such like…. Without proportion no picture

Albrecht Dürer and

“Christ Among the Doctors”

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.

The 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 and Mary both knew the prophesies and had been taught the Torah as well as all the scriptural writings 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 over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking he was in their company, they traveled on for a day. Then they began looking for him among their relatives and friends. When they did not find him, they went back to Jerusalem to look 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

“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.”

Study of Hands, 1506, brush on blue paper, 24.8 x 41.6 centimeters, now in the Germanisches Nationalmuseum, Nuremberg, Studies, probably done in Venice prior, we can see one set of the two sets of hands holding books which were used for this painting. 9

Study of Hands, 1506, pen and ink heightened with white on paper, 206 x 185 mm, Blasius

Collection, Braunschweig.8

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

Without 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 paler skin of the rabbi is in contrast with more of a colorless hue. Jesus may even be turning His head away to avoid such close contact with the contention being argued.

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. The story is removed from reality in that there was 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 scriptures. Dürer has not only made something removed from reality as a copy, but he has altered the copy so that it projects an entirely different reality.

The interpretation of this painting where Christ is in contrast with the established, worldly doctors arguing for their status quo with their books and intimidating behavior easily can be observed. That Dürer completed this work in only five days and

took care to note it may imply many possibilities.12 There are plenty of occurrences in the Gospels where Christ as a mature and confident adult confronted the Scribes and the Pharisees, and with good reason. After Martin Luther confronts the Church for her

misguided activities Albrecht Dürer will embrace that fresh Biblical approach. Perhaps Christ Amongst the Doctors was a commentary on the church in Rome as Albrecht saw it at that time. E

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 in the Thyssen-Bornemisza Collection, Lugano-Castagnola.

Anzelewsky, Fedja. 1. Durer His Art and Life, Translated by Heidi Grieve New York: Alpine Fine Arts Collection 1980, pp. 15-19

Ibid., p. 232.

Ibid., pp. 48-513.

Ibid., pp. 37, 1464.

della Chiesa, Angela Ottino. 5. The Complete Paintings of Dürer. Intro-duction by Alistair Smith; notes and catalogue by [translated from the Italian]. Gijsen, Marnix: 1899, p. 14

The Holy Bible: New International Version (NIV). Copyright © 6. 1973, 1978, 1984 by International Bible Society

Ibid.7.

Anzelewsky p. 1328.

Anzelewsky p. 1289.

Anzelewsky p. 12810.

Panofsky, Erwin. 11. The Life and Art of Albrech Durer, Princeton, NJ: Princeton University Press, 1955, p. 114

Russell, Francis. 12. The world of Durer, 1471-1528, New York: Time, Inc. 1967, p. 82