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'''''Young Hare''''' ({{langx|de|'''Feldhase'''}}) is a 1502 [[Watercolor painting|watercolour]] and [[Gouache|bodycolour]] painting by the German artist [[Albrecht Dürer]]. Painted in 1502 in his workshop in Nuremberg, Germany, it is acknowledged as a masterpiece of observational art alongside his ''[[Great Piece of Turf]]'' from the following year. The subject is rendered with almost photographic accuracy, and although the piece is normally given the title ''Young Hare'', the portrait is sufficiently detailed for the [[hare]] to be identified as a mature specimen – the German title translates as "Field Hare" and the work is often referred to in English as the ''Hare'' or ''Wild Hare''.

'''''Young Hare''''' ({{langx|de|'''Feldhase'''}}) is a 1502 [[Watercolor painting|watercolour]] and [[Gouache|bodycolour]] painting by the German artist [[Albrecht Dürer]]. Painted in 1502 in his workshop in Nuremberg, Germany, it is acknowledged as a masterpiece of observational art alongside his ''[[Great Piece of Turf]]'' from the following year. The subject is rendered with almost photographic accuracy, and although the piece is normally given the title ''Young Hare'', the portrait is sufficiently detailed for the [[hare]] to be identified as a mature specimen – the German title translates as "Field Hare" and the work is often referred to in English as the ''Hare'' or ''Wild Hare''.

The work remained in Dürer's workshop until his death in 1528. The work was then sold to [[Willibald Imhoff|Willibald Imhoff,]] to whom it belonged until 1588, when Imhoff sold it to [[Rudolf II, Holy Roman Emperor|Emperor Rudolf II]] due to financial difficulties.{{Cite book |title=Albrecht Dürer |date=2019 |publisher=Albertina Museum; Prestel |isbn=978-3-7913-5931-1 |editor-last=Metzger |editor-first=Christoff |series=Exhibition of the Albertina Museum |location=Vienna : Munich ; London ; New York |editor-last2=Graphische Sammlung |editor-first2=Albertina |editor-last3=Schröder |editor-first3=Klaus Albrecht |editor-last4=Zaunbauer |editor-first4=Julia |editor-last5=Martin |editor-first5=Andrew John |editor-last6=Pokorny |editor-first6=Erwin |editor-last7=Wolfson |editor-first7=Michael |editor-last8=Pepper |editor-first8=Ian |editor-last9=|last=Metzger|first=Christof}}In 1691, the work made its final move to the [[Albertina|Albertina Museum]] in Vienna, where it is still held.>{{Cite book |last=Metzger |first=Christof |title=Albrecht Dürer: exhibition, Vienna, the Albertina museum 20.9.2016-6.1.2020 |date=2019 |publisher=Prestel Verlag |others=Graphische Sammlung Albertina |isbn=978-3-7913-5931-1 |location=Munich|page=58}}</ref>

The work remained in Dürer's workshop until his death in 1528. The work was then sold to [[Willibald Imhoff|Willibald Imhoff,]] to whom it belonged until 1588, when Imhoff sold it to [[Rudolf II, Holy Roman Emperor|Emperor Rudolf II]] due to financial difficulties. name=":0">{{Cite book |title=Albrecht Dürer |date=2019 |publisher=Albertina Museum; Prestel |isbn=978-3-7913-5931-1 |editor-last=Metzger |editor-first=Christoff |series=Exhibition of the Albertina Museum |location=Vienna : Munich ; London ; New York |editor-last2=Graphische Sammlung |editor-first2=Albertina |editor-last3=Schröder |editor-first3=Klaus Albrecht |editor-last4=Zaunbauer |editor-first4=Julia |editor-last5=Martin |editor-first5=Andrew John |editor-last6=Pokorny |editor-first6=Erwin |editor-last7=Wolfson |editor-first7=Michael |editor-last8=Pepper |editor-first8=Ian |editor-last9=|last=Metzger|first=Christof|page=164|chapter=Durer, the Observer}}In 1691, the work made its final move to the [[Albertina|Albertina Museum]] in Vienna, where it is still held.name=":0" />

== Background ==

== Background ==

Dürer created the ''Young Hare'' during his time studying nature from 1500 to 1505.{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ|page=80}} Art historian, [[Erwin Panofsky]] described Dürer's drive during this time to focus on portraying animals more realistically through right proportions. He explained that Dürer recorded “the most microscopic of observations” to make his work more realistic.>{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ|page=80}}</ref> Dürer's focus was on making improvements from his previous works, which Panofsky considered "powerful but unsound" because they lacked "right grounding" from "errors in design.">{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ|pages=80}}</ref>

Dürer created the ''Young Hare'' during his time studying nature from 1500 to 1505. name=":1">{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ|page=80}} Art historian, [[Erwin Panofsky]] described Dürer's drive during this time to focus on portraying animals more realistically through right proportions. He explained that Dürer recorded “the most microscopic of observations” to make his work more realistic.name=":1" /> Dürer's focus was on making improvements from his previous works, which Panofsky considered "powerful but unsound" because they lacked "right grounding" from "errors in design."name=":1" />

Capturing the ''Young Hare'' was particularly challenging because the hare's fur lay in different directions, and the animal was mottled with lighter and darker patches all over. Scholars like [[Christof Metzger]] describe how Dürer’s technique was "perfect here,“ giving the illusion that the hare was "on top of a sheet of paper.”>{{Cite book |last=Dürer |first=Albrecht |title=Albrecht Dürer |last2=Metzger |first2=Christof |last3=Schröder |first3=Klaus Albrecht |last4=Zaunbauer |first4=Julia |date=2019 |publisher=Prestel |others=Albertina |isbn=978-3-7913-5930-4 |location=München London New York|page=164|chapter=Durer, the Observer}}</ref>Despite the technical challenges presented in rendering the appearance of light with a multi-coloured, multi-textured subject, Dürer not only managed to create a detailed, almost scientific, study of the animal but also infused the picture with a soft light that hit the hare from the left, creating a shimmer that emphasized the softness of the fur. He highlighted the ears and the run of hair along the body, which, based on the thickness and length of the fur gives the impression of a winter coat.>{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ|page=165|chapter=Durer, the Observer}}</ref>Metzger attributed the work's sucess to its attention to detail, describing Dürer's ''Young Hare'' as having "the most brilliant career of all his drawings." >{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ|chapter=Durer, the Observer|page=164}}</ref>

Capturing the ''Young Hare'' was particularly challenging because the hare's fur lay in different directions, and the animal was mottled with lighter and darker patches all over. Scholars like [[Christof Metzger]] describe how Dürer’s technique was "perfect here,“ giving the illusion that the hare was "on top of a sheet of paper.”name=":0" />Despite the technical challenges presented in rendering the appearance of light with a multi-coloured, multi-textured subject, Dürer not only managed to create a detailed, almost scientific, study of the animal but also infused the picture with a soft light that hit the hare from the left, creating a shimmer that emphasized the softness of the fur. He highlighted the ears and the run of hair along the body, which, based on the thickness and length of the fur gives the impression of a winter coat.name=":0" />Metzger attributed the work's sucess to its attention to detail, describing Dürer's ''Young Hare'' as having "the most brilliant career of all his drawings." name=":0" />

== Analysis ==

== Analysis ==

When creating the painting, Dürer [[Underpainting|underpainted]] the hare with washes of brown and then went over it with both light and dark brushstrokes.{{Cite book |title=Albrecht Dürer: master drawings, watercolors, and prints from the Albertina ; [exhibition dates: National Gallery of Art, Washington March 24 - June 9, 2013] |date=2013 |publisher=Delmonico Books/Prestel Publ |isbn=978-0-89468-380-0 |editor-last=Robison |editor-first=Andrew |location=Washington |editor-last2=Dürer |editor-first2=Albrecht |editor-last3=Schröder |editor-first3=Klaus Albrecht |editor-last4=National Gallery of Art |editor-last5=Albertina}} He used bodycolour and watercolor in a double cross-hatching method and used "infinitesimal strokes” to create the illusion of real hair.>{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ}}</ref> The use of differentiated pointy brushes in tones of brown, grey, black, and opaque aided in capturing the realism of the hare. Gradually, the painting was brought to completion with the addition of a few refined details, such as the [[whiskers]] and the meticulous details in the creature's eye. Specifically, art historian [[Fritz Koenig|Fritz Koreny]] described Dürer’s use of white and other colors within the eye that make the animal seem almost alive on the paper.{{Cite book |last=Koreny |first=Fritz |title=Albrecht Dürer and the animal and plant studies of the Renaissance |date=1988 |publisher=Little, Brown |isbn=9780821216248 |edition=1st American |location=Boston}} The hare's eyes, as she put it “capture the animal’s personality.">{{Cite book |last=Koreny |first=Fritz |title=Albrecht Dürer and the animal and plant studies of the Renaissance |date=1988 |publisher=Little, Brown |isbn=978-0-8212-1624-8 |edition=1st American |location=Boston}}</ref> Within the eyes, there is a reflection of the window frame from Dürer's workshop, which made many question the undefined space where the animal was sitting when captured.>{{Cite book |last=Panofsky |first=Erwin |title=The Life and Art of Albrecht Dürer |date=2023 |publisher=Princeton University Press |others=Jeffrey Chipps Smith |isbn=978-0-691-25749-5 |location=Princeton, NJ}}</ref>

When creating the painting, Dürer [[Underpainting|underpainted]] the hare with washes of brown and then went over it with both light and dark brushstrokes. name=":2">{{Cite book |title=Albrecht Dürer: master drawings, watercolors, and prints from the Albertina ; [exhibition dates: National Gallery of Art, Washington March 24 - June 9, 2013] |date=2013 |publisher=Delmonico Books/Prestel Publ |isbn=978-0-89468-380-0 |editor-last=Robison |editor-first=Andrew |location=Washington |editor-last2=Dürer |editor-first2=Albrecht |editor-last3=Schröder |editor-first3=Klaus Albrecht |editor-last4=National Gallery of Art |editor-last5=Albertina}} He used bodycolour and watercolor in a double cross-hatching method and used "infinitesimal strokes” to create the illusion of real hair.name=":1" /> The use of differentiated pointy brushes in tones of brown, grey, black, and opaque aided in capturing the realism of the hare. Gradually, the painting was brought to completion with the addition of a few refined details, such as the [[whiskers]] and the meticulous details in the creature's eye. Specifically, art historian [[Fritz Koenig|Fritz Koreny]] described Dürer’s use of white and other colors within the eye that make the animal seem almost alive on the paper. name=":3">{{Cite book |last=Koreny |first=Fritz |title=Albrecht Dürer and the animal and plant studies of the Renaissance |date=1988 |publisher=Little, Brown |isbn=9780821216248 |edition=1st American |location=Boston}} The hare's eyes, as she put it “capture the animal’s personality."name=":3" /> Within the eyes, there is a reflection of the window frame from Dürer's workshop, which made many question the undefined space where the animal was sitting when captured.name=":1" />

The''Young Hare'' sits on a flat surface with his erected ears and both legs tucked, giving the illusion that the creature would jump up at any moment from off the page. There is a [[shadow]] on the right and a known light source from the reflection, but the details of how the hare was captured on paper are unknown.>{{Cite book |title=Albrecht Dürer: master drawings, watercolors, and prints from the Albertina |date=2013 |publisher=National Gallery of Art ; Delmonico Books/Prestel |isbn=978-3-7913-5287-9 |editor-last=Schröder |editor-first=Klaus Albrecht |location=Washington : Munich ; London ; New York |editor-last2=Rebel |editor-first2=Ernst |editor-last3=Robison |editor-first3=Andrew |editor-last4=Dürer |editor-first4=Albrecht |editor-last5=National Gallery of Art (U.S.)}}> There is some debate over how Dürer accurately depicted the animal.{{Cite book |last=M. Trux |first=Elisabeth |title=Albrecht Dürer |last2=Schröder |first2=Klaus Albrecht |last3=Sternath |first3=Marie Luise |last4=Ainsworth |first4=Maryan Wynn |date=2003 |publisher=Hatje Cantz |others=Graphische Sammlung Albertina |isbn=978-3-7757-1330-6 |location=Ostfildern-Ruit |page=45-55}} He may have sketched the hare in the wild and filled in the individual details from a dead animal, or captured one and held it alive in his studio while he worked on the painting. The reflection of the window frame in the hare's eye is often cited as evidence for the theory that Dürer copied the hare from life in his workshop, but this cross-barred reflection is a technique that Dürer frequently used to add vitality to the eyes of his subjects.>{{Cite book |last=M. Trux |first=Elisabeth |title=Albrecht Dürer |last2=Schröder |first2=Klaus Albrecht |last3=Sternath |first3=Marie Luise |last4=Ainsworth |first4=Maryan Wynn |date=2003 |publisher=Hatje Cantz |others=Graphische Sammlung Albertina |isbn=978-3-7757-1330-6 |location=Ostfildern-Ruit |page=44-45}}</ref>

The''Young Hare'' sits on a flat surface with his erected ears and both legs tucked, giving the illusion that the creature would jump up at any moment from off the page. There is a [[shadow]] on the right and a known light source from the reflection, but the details of how the hare was captured on paper are unknown.name=":2" /> There is some debate over how Dürer accurately depicted the animal. name=":4">{{Cite book |last=M. Trux |first=Elisabeth |title=Albrecht Dürer |last2=Schröder |first2=Klaus Albrecht |last3=Sternath |first3=Marie Luise |last4=Ainsworth |first4=Maryan Wynn |date=2003 |publisher=Hatje Cantz |others=Graphische Sammlung Albertina |isbn=978-3-7757-1330-6 |location=Ostfildern-Ruit |page=45-55}} He may have sketched the hare in the wild and filled in the individual details from a dead animal, or captured one and held it alive in his studio while he worked on the painting. The reflection of the window frame in the hare's eye is often cited as evidence for the theory that Dürer copied the hare from life in his workshop, but this cross-barred reflection is a technique that Dürer frequently used to add vitality to the eyes of his subjects.name=":4" />

Dürer used his watercolour and bodycolour studies as source material for his prints. In other works, such as ''[[The Holy Family with Three Hares]],'' the animals are modest. Similarly, in the 1504 copperplate engraving of ''[[:File:Adam Eva, Durer, 1504.jpg|Adam and Eve]]'', the hare is turned away and appears half-hidden behind [[Eve]]'s legs. The prominent date and Dürer monogram on the ''Young Hare'' indicate that he considered it a work in its own right rather than merely a preparatory sketch. The painting also inspired numerous copies, with at least twelve produced by contemporaries.{{Cite book |last=Heinz |first=Widauer |title=Albrecht Dürer: [Ausstellung, Albertina, Wien, 5. September-30. November 2003 |date=2003 |publisher=Albertina |isbn=978-3-7757-1330-6 |location=Wien |page=268}}

Dürer used his watercolour and bodycolour studies as source material for his prints. In other works, such as ''[[The Holy Family with Three Hares]],'' the animals are modest. Similarly, in the 1504 copperplate engraving of ''[[:File:Adam Eva, Durer, 1504.jpg|Adam and Eve]]'', the hare is turned away and appears half-hidden behind [[Eve]]'s legs. The prominent date and Dürer monogram on the ''Young Hare'' indicate that he considered it a work in its own right rather than merely a preparatory sketch. The painting also inspired numerous copies, with at least twelve produced by contemporaries.{{Cite book |last=Heinz |first=Widauer |title=Albrecht Dürer: [Ausstellung, Albertina, Wien, 5. September-30. November 2003 |date=2003 |publisher=Albertina |isbn=978-3-7757-1330-6 |location=Wien |page=268}}

== Additional Information ==

== Additional Information ==

Dürer's ''Young Hare'' was imitated by numerous artists. Particularly, one artist, Hans Hoffmann, produced several copies of the ''Young Hare'' and even attempted to copy Dürer's signature [[monogram]].{{Cite book |title=Faking it! the performance of forgery in late medieval and early modern culture |date=2023 |publisher=Brill |isbn=978-90-04-44948-0 |editor-last=Lavender |editor-first=Philip |series=Intersections : interdisciplinary studies in early modern culture |location=Leiden ; Boston |editor-last2=Bergström |editor-first2=Matilda Amundsen|chapter=The Deceptive Power of a Monogram: Appropriating Dürer’s Identity in the Sixteenth and Early Seventeenth Centuries.}} In Hoffmann's imitation features the AD monogram. His recreations of the hare expanded the reach of Dürer's work while also creating a direct point of comparison between the two.>{{Cite book |title=Faking it! the performance of forgery in late medieval and early modern culture |date=2023 |publisher=Brill |isbn=978-90-04-10690-1 |editor-last=Lavender |editor-first=Philip |series=Intersections |location=Leiden Boston |editor-last2=Amundsen Bergström |editor-first2=Matilda|chapter=The Deceptive Power of a Monogram: Appropriating Dürer’s Identity in the Sixteenth and Early Seventeenth Centuries.}}</ref> Hoffmann created his works after Dürer's death, and many scholars question whether his recreations were admiration, replication, or [[forgery]]. Hoffmann closely followed Durer's composition and naturalistic detail while introducing minor variations in technique and coloration and many people study both artists' works together.>{{Cite book |title=Faking it! the performance of forgery in late medieval and early modern culture |date=2023 |publisher=Brill |isbn=978-90-04-44948-0 |editor-last=Lavender |editor-first=Philip |series=Intersections : interdisciplinary studies in early modern culture |location=Leiden ; Boston |editor-last2=Bergström |editor-first2=Matilda Amundsen|chapter=The Deceptive Power of a Monogram: Appropriating Dürer’s Identity in the Sixteenth and Early Seventeenth Centuries.}}</ref>{{clear}}

Dürer's ''Young Hare'' was imitated by numerous artists. Particularly, one artist, Hans Hoffmann, produced several copies of the ''Young Hare'' and even attempted to copy Dürer's signature [[monogram]]. name=":5">{{Cite book |title=Faking it! the performance of forgery in late medieval and early modern culture |date=2023 |publisher=Brill |isbn=978-90-04-44948-0 |editor-last=Tschetschik-Hammerl |editor-first=Ksenija |series=Intersections : interdisciplinary studies in early modern culture |location=Leiden ; Boston |editor-last2=Bergström |editor-first2=Matilda Amundsen|chapter=The Deceptive Power of a Monogram: Appropriating Dürer’s Identity in the Sixteenth and Early Seventeenth Centuries.}} In Hoffmann's imitation features the AD monogram. His recreations of the hare expanded the reach of Dürer's work while also creating a direct point of comparison between the two.name=":5" /> Hoffmann created his works after Dürer's death, and many scholars question whether his recreations were admiration, replication, or [[forgery]]. Hoffmann closely followed Dürer's composition and naturalistic detail while introducing minor variations in technique and coloration and many people study both artists' works together.name=":5" />{{clear}}

== See also ==

== See also ==