Parliament Of Karol V

Technique: Giclée quality print
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More about this artwork

This artwork by Albrecht Dürer, titled "Parliament of Charles V," is a detailed woodcut that portrays a notably ornate scene, reflecting the grandeur and formal nature of imperial proceedings in the 16th century. The composition vividly depicts a regal gathering, prominently featuring Charles V seated on a throne, signifying his imperial status with the label "IMPERATOR" above him. Alongside him, other figures are identified with titles such as "REX HISPANIA" (King of Spain), highlighting the broad extent of Charles V's realm and influence.The scene is intricately designed, with rows of dignitaries and possibly royal advisors or noblemen seated in an organized, tiered arrangement, suggesting a formal parliamentary session. These individuals are shown sporting period-appropriate attire, including robes and hats that signify their status and roles. The geometric precision of the room, combined with the detailed rendering of architectural elements like columns and tiled floors, underscores the structured and authoritative nature of the assembly.Dürer's woodcut not only captures a historical event but does so with technical mastery and a keen eye for detail and proportion, typical of his works. The labels and strategically placed names serve as informative elements, guiding the viewer through a historical narrative captured in a single, elaborate image.

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Christian paintings, woodcuts and landscapes by the German Renaissance master Albrecht Dürer (1471-1528). Dürer's pieces on Christian themes and allegory are considered to be the finest examples of the Northern Renaissance. One of Dürer's most famous works on Christ is his "Crucifixion" woodcut (1503). The piece demonstrates Dürer's mastery of the medium and deep understanding of Christian symbolism. The work depicts the crucifixion of Christ in a powerful and realistic manner, with an emphasis on the suffering and sacrifice of Christ. Dürer began his career as an apprentice in Nuremberg to the master craftsman Michael Wolgemut. He later became the founding member of the city's painters' guild and was an active member of humanist circles prominent in Nuremberg at the time.