Currently not on view
The Virgin and Child seated on a Grassy Bank,
1503
Although Dürer lavishes considerable attention on the Virgin’s voluminous drapery folds in both prints, there is a shift toward a more monumental conception of the human figure in the later engraving, which also expands the scene to incorporate a panoramic seascape with distant mountains.
Information
1503
Europe, Germany, Nuremburg
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<p>Adam vom Bartsch, "Volume 7," <em>Le peintre graveur ... </em>(Vienne: J. V. Degen, 1803-05).</p>, no. 95, p. 133
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<p>Sylvester Rosa Koehler, <em>A Chronological Catalogue of the Engravings, Dry-points and Etchings of Albert Dürer, as Exhibited at the Grolier Club</em> (New York: The Grolier Club, 1897).</p>, no. 29, pp. 28–29
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Arthur Mayger Hind, <em>Albrecht Dürer: his engravings and woodcuts</em> (New York: Frederick A. Stokes Company, 1911)., p. 13
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<p>Campbell Dodgson, <em>Albrecht Dürer</em> (London: Medici Society, 1926). </p>, no. 53, p. 290
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Joseph Meder, <em>Dürer-Katalog, ein handbuch über Albrecht Dürers stiche, radierungen, Holzschnitte, deren zustände, ausgaben und wasserzeichen</em> (Vienna: Gilhofer & Rauschburg, 1932)., no. 207
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Erwin Panofsky, <em>Albrecht Dürer</em> (Princeton: Princeton University Press, 1945).
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<p>"Recent acquisitions", <em>Record of the Art Museum, Princeton University</em> 20, no. 1 (1961): p. 24-27.</p>, p. 26
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<p>F.W.H. Hollstein, “Dürer,” <em>German engravings, etchings, and woodcuts, ca. 1400-1700</em> (Amsterdam: M. Hertzberger, 1962).</p>, no. 207
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<p>Rainer Schoch, Matthias Mende, and Anna Scherbaum, Albrecht Dürer: das druckgraphische Werk (München: Prestel, 2001).</p>, no. 185
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