03 — ARTWORK
Two Musicians
- MEDIUM
- Oil on panel, 94 x 51 cm
- TYPE
- Religious
PALETTE
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- FILE
- 700 × 1289 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The panelTerm in painting for a support of wood, metal, or other rigid substance, as distinct from canvas. Until the adoption of canvas in the 15th century nearly all the movable paintings of Europe were executed on wood, and even up to the beginning of the 17th century it is probable that as much painting was done on the one support as on the other. Painters who worked on a small scale often used copper panels (Elsheimer is a leading example), and in the colonial art of South America copper and tin and even lead and zinc were used. On a larger scale, slate has occasionally been used as a support, notably by Rubens for his altarpiece for Sta Maria in Vallicella (the Chiesa Nuova) in Rome; the picture he originally painted was said to reflect the light unpleasantly and slate was used for the replacement to produce a more matt finish. For wood panels the Italian masters of the Renaissance preferred white poplar, while oak was the most common wood used in northern Europe. Many other types were used, however; analysis of the contents of art galleries has yielded a long list, including beech, cedar, chestnut, fir, larch, linden, mahogany, olive, and walnut. In the 20th century cedar, teak, and dark walnut are favourites, and modern painters have also used plywood, fibre-board, and other synthetic materials as supports. is a wing of the Jabach AltarpieceA picture or sculpture that stands on or is set up behind an altar. The term reredos is used for an ornamental screen or partition, not directly attached to the altar table but affixed to the wall behind it. A diptych is an altarpiece consisting of two panels, a triptych one of three panels, and a polyptych one of four or more panels. From the 14th to 16th century, the altarpiece was one of the most important commissions in European art; it was through the altarpiece that some of the most decisive developments in painting and sculpture came about., named after one of its previous owners. Originally, however, it was commissioned by Frederick the Wise, electorone of the German princes who elected the emperor of the Holy Roman Empire. From the middle of the 14th century there were seven Electors; the king of Bohemia, the duke of Saxony, the count Palatine of the Rhine, the margrave of Brandenburg, and the archbishops of Mainz, Trier and Cologne. of Saxony. Another panel in Frankfurt, depicting Job and his wife, belongs to this altar, too. It is conceivable that these two pictures are the results of sawing a larger one in two. Even though their conditions differ, it is clearly visible that the background and the horizon in both pictures match, and portions of the clothes of Job's wife may be found in the picture of the two musicians. There is even a sixteenth-century drawing which shows the two paintings as one composition. The two pictures together may have constituted the centre panel of a Job altar commissioned by Frederick the Wise to commemorate the plaguePlague, which had been extinct in Italy from the 8th century, returned along eastern trade routes to strike the peninsula, and thereafter all Europe, in October 1347. During 1348 the Black Death, comprising the bubonic and still more deadly septicaemic and pneumonic forms of the disease, swept town and countryside in a series of attacks whose horror was strikingly portrayed by Boccaccio in his preface to the Decameron. Thenceforward, though in less widespread, more sporadic outbreaks, plague recurred periodically until the 18th century. Thirty per cent of the population of Venice died in the outbreak of 1575-7, for instance, which was commemorated by Palladio's church of the Redentore. Preventive measures included the boarding up of infected families, the isolation of sufferers in plague hospitals, the burning of 'infected' clothing, but none worked or mitigated the feeling of hopelessness. The plague's social effects are an object of controversy. It seems probable, however, that during the second half of the 14th century plague reduced the population of Italy by a half and at certain centres, such as Florence and Genoa, sharply accentuated an economic depression which had already set in during the 1340s. In the 15th century, despite regional variations, it is unlikely that population began to rise significantly before the 1470s. Large claims have been made in the field of the arts and of human sensibility for the influence of plague. In Florence and Siena from 1348 to 1380, religious feeling and the art which mirrors it seem to assume more sombre forms and to reflect less the human and more the divine, transcendent and threatening aspects of faith. Yet the black rat and its plague-bearing flea could find a more hospitable environment in the hovels of the poor than in the stone-built houses of wealthy patrons of the arts (who, moreover, were often able to remove themselves from areas where plague had broken out). For this reason, perhaps, it is difficult to find, outside Tuscany, evidence of cultural change which could be attributed to plague, and in the Italy of the 15th and 16th centuries the main effect of the disease in art is to be found only in the frequent portrayal of the plague saints, Rocco and Sebastian. It is none the less interesting to recall that it was against a stark background of continual menace from plague that the human achievements of the Renaissance came into being. which ravaged the German lands in 1503.
It should be noted that there are scholars who have proposed that these two pictures used to form the two wing-panels of a triptychA painting in three sections, usually an altarpiece, consisting of a central panel and two outer panels, or wings. In many medieval triptychs the two outer wings were hinged so that could be closed over the center panel. Early triptychs were often portable. showing the Adoration of the Magi (now in the Galleria degli Uffizi in Florence).
The altar, besides depicting Job as the patron saint of people suffering skin diseases, also points to his connection with music. On the first part of the painting we see the suffering Job cowering on a refuse heap while his wife drenches him with water. On the second part, the musicians are certainly the representatives of healing music. (The young drummer bears striking resemblance to the painter). According to the medieval melotherapy, Job, who was devoted to music when he was healthy, should recover upon hearing the melody.
The presence of a wind instrument, a type of trumpet, may suggest another association. In praise of the instruments, St Augustine likened the brazen tone of the trumpet to the steadfastness of Job. <P> <TABLE ALIGN=LEFT CELLPADDING=5 BORDER=1 WIDTH=320 BGCOLOR="#99CCCC"> <TR VALIGN=MIDDLE><TD><IMG SRC="/support/gif/listen.gif" BORDER=0 VALIGN=MIDDLE> Suggested listening (streaming mp3, 4 minutes):<BR><A HREF="#" onClick="w=window.open ('/music1/16_cent/massaino_canzon.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=350,height=350');w.opener=this;w.focus();return true"><B>Tiburtio Massaino: Canzon XXXIII</B></A> </TD></TR></TABLE>
CITE THIS RECORD — BIBTEX
@online{wga-r6de7f1c8fd46d4,
author = {Krén, Emil and Marx, Daniel},
title = {Two Musicians by DÜRER, Albrecht},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/drer-albrecht-r9b10ff91cb62c2/two-musicians-r6de7f1c8fd46d4},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
