Albrecht Dürer’s Praying Hands (1508) was not a preparatory drawing for a painted altarpiece as previously believed, but a finished work created to showcase the master’s talent. This groundbreaking theory will be presented by Vienna’s Albertina chief curator at a major Dürer exhibition next year. Christof Metzger from the Albertina suggests that the drawing depicts the actual hands of the artist, raising interesting physiological questions about Dürer’s hands, who is considered the greatest artist of the northern Renaissance.
Praying Hands is now one of the most renowned drawings in history, recognized by many alongside Leonardo’s Vitruvian Man. The work has become a religious icon, with reproductions still found in millions of households centuries later. It was previously assumed that the drawing was a study for an apostle in the Heller altarpiece, but Metzger argues against this, stating that the highly finished work was intended as a showcase of Dürer’s talent rather than a study for a larger piece.
Metzger claims that Praying Hands and other associated drawings were created to advertise Dürer’s abilities to prospective clients. These works would have been displayed in the artist’s workshop to demonstrate the quality clients could expect from a commission. He also suggests that the drawing depicts Dürer’s own hands, noting similarities with the artist’s self-portraits. The intricate detail and ambitious nature of the drawing support the idea that it was not merely a preliminary study, but a masterful piece created to showcase Dürer’s skill and talent.