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The hare (Rome)

The hare (Rome) General view

The hare (Rome)

from 1585 to 1590

General view


Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.

Location: Rome, Galleria Corsini

Realization: Hoffmann, Hans

Depicted: Dürer, Rezeption

Material: Watercolor and gouache on parchment

photo 2015, Theo Noll

The hare (Rome) Central field of the picture

The hare (Rome)

from 1585 to 1590

Central field of the picture


Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.

Location: Rome, Galleria Corsini

Realization: Hoffmann, Hans

Depicted: Dürer, Rezeption

Material: Watercolor and gouache on parchment

photo 2015, Theo Noll

The hare (Rome) Detail

The hare (Rome)

from 1585 to 1590

Detail


Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.

Location: Rome, Galleria Corsini

Realization: Hoffmann, Hans

Depicted: Dürer, Rezeption

Material: Watercolor and gouache on parchment

photo 2015, Theo Noll

The hare (Rome) Detail

The hare (Rome)

from 1585 to 1590

Detail


Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.

Location: Rome, Galleria Corsini

Realization: Hoffmann, Hans

Depicted: Dürer, Rezeption

Material: Watercolor and gouache on parchment

photo 2015, Theo Noll

Hans
Hoffmann

Further works

The hare (Rome)
The hare (Rome)

Rezeption
Dürer

Further works

Copy of St. Eustachius after Albrecht Dürer
Copy of St. Eustachius after Albrecht Dürer
Bergheim Altar
Bergheim Altar
Epitaph für den Priester Dr. 46 / 5.000 Epitaph for the priest Dr. Leonhard Oelhafen
Epitaph für den Priester Dr. 46 / 5.000 Epitaph for the priest Dr. Leonhard Oelhafen
Saint Pantaleon
Saint Pantaleon
Assumption and Coronation of Mary
Assumption and Coronation of Mary
Rhinoceros
Rhinoceros
The hare (Rome)
The hare (Rome)
San Huberto (actually Eustachius)
San Huberto (actually Eustachius)
Lamentation of Christ
Lamentation of Christ
Dürer's foundation plaque
Dürer's foundation plaque
Portrait of Michael Wolgemut
Portrait of Michael Wolgemut
The Flagellation of Christ
The Flagellation of Christ
Madonna degli Animali
Madonna degli Animali
Christ as the Man of Sorrows
Christ as the Man of Sorrows
Dürer statuette
Dürer statuette
polyhedron of Melencolia I
polyhedron of Melencolia I
Barbara Dürer
Barbara Dürer

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A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. (Association for the Promotion of the Museum of Cultural History Nuremberg - registered association)

The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website.

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