Landscape with Two Pines, Albrecht Altdorfer (German, c. 1480–1538)

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Credit
John L. Severance Fund
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 130938 (read 2026-08-27)
Record
https://clevelandart.org/art/1953.627
Landscape with Two Pines, Albrecht Altdorfer (German, c. 1480–1538)
Landscape with Two Pines — Albrecht Altdorfer (German, c. 1480–1538)1521–22

Also by Albrecht Altdorfer (German, c. 1480–1538)

1
Salome with the Head of St. John the Baptist, Albrecht Altdorfer (German, c. 1480–1538)
Salome with the Head of St. John the BaptistAlbrecht Altdorfer (German, c. 1480–1538)c. 1517Cleveland Museum of Art

Within fifty years of 1521–22

399
Two Putti with Lamb, School of Leonardo da Vinci
Two Putti with LambSchool of Leonardo da Vincin.d.The Art Institute of Chicago
The Adoration of the Magi, Joos van Wassenhove
The Adoration of the MagiJoos van Wassenhove1472–74Metropolitan Museum of Art, New York, NY
De Re Militari (On the Military Arts), Roberto Valturio
De Re Militari (On the Military Arts)Roberto Valturio1472Metropolitan Museum of Art, New York, NY
Studiolo from the Ducal Palace in Gubbio, Francesco di Giorgio Martini
Studiolo from the Ducal Palace in GubbioFrancesco di Giorgio Martinica. 1478–82Metropolitan Museum of Art, New York, NY
Phaeton Driving the Chariot of Phoebus, Northern Italian
Phaeton Driving the Chariot of PhoebusNorthern Italian1475–1500The Art Institute of Chicago
Left side of a double-page album folio: Outside a Royal Encampment (recto) and Calligraphy, Persian Verses (verso), Bihzad (Iranian, active 1470–1506)
Left side of a double-page album folio: Outside a Royal Encampment (recto) and Calligraphy, Persian Verses (verso)Bihzad (Iranian, active 1470–1506)c. 1485Cleveland Museum of Art
Madonna and Child, Vincenzo Foppa
Madonna and ChildVincenzo Foppaca. 1480Metropolitan Museum of Art, New York, NY
Crucified Christ, Unknown
Crucified ChristUnknownc. 1480–1500Cleveland Museum of Art

Also at Cleveland Museum of Art

552
Relief of Nyankhnesut Seated, Unknown
Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art
Stele of Shemai, Unknown
Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art
Relief of Hatshepsut or Tuthmosis III, Unknown
Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
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Talatat: Nefertiti Offers to the Aten, Unknown
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Tomb Relief of the Chief Physician Amenhotep and Family, Unknown
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Stele of the High Priest of Ptah, Shedsunefertem, Unknown
Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

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8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

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In the stacks

Not yet checked1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. principles of art history · heinrich wolfflin

    centrally, it gives the type of the sixteenth century in a specially strict version, which the north did not long retain. PAINTING 147 Bouts While in Italian art the most self-contained form is felt to be the most living, Germanic art, without even embarking on ultimate formulations, immediately presses into freer forms. Altdorfer surprises us here and there with a feeling so free that he hardly seems to fit into an historical order. Yet even he did not fall out of his epoch. If the Virgin’s Birth in the Munich
    0.70

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Made in the sixteenth century, like Landscape with Two Pines.

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