Paumgartner Altarpiece (center panel - The Nativity, wings - St. George, St. Eustace) 1503

Editor: We’re looking at Albrecht Durer’s “Paumgartner Altarpiece” from 1503, an oil on panel triptych. I'm struck by the way he combines the sacred scene in the center panel with these somewhat imposing, armored figures on the wings. What catches your eye when you look at it? Curator: I find the interplay of spatial recession and surface detail particularly compelling. Note how Durer uses linear perspective in the central panel, yet the figures seem somewhat flattened against the architectural backdrop. What do you observe in terms of colour? Editor: Well, there’s a limited palette – mostly reds, blues, and grays – but the redness really pops. Is that deliberate? Curator: Precisely. The strategic deployment of red across the composition—in the clothing of the central figures, the armor of the flanking saints, and even the subtle highlights within the architectural rendering—functions as a visual anchor, unifying the disparate elements into a cohesive whole. Consider the surface texture itself, how would you describe the materiality? Editor: The oil paint seems very smooth, almost glazed, but there are definitely visible brushstrokes. Curator: The texture enhances the sense of depth and volume, inviting a tactile interaction with the work, even from a distance. The geometric precision in the architectural structures also stands out, but there is the very prominent lack of aerial perspective with almost equal saturation from front to back. It is interesting how the formal aspects contribute to our understanding of its purpose as an altarpiece. Editor: It’s amazing how analyzing these formal qualities makes the artwork seem much more powerful and intentional. I hadn't noticed all these connections at first. Curator: Indeed. Formal analysis allows us to access a deeper understanding beyond subject matter and iconographic readings. There is much to be revealed.