This painting by Dürer is an example of an illustration that is both scientific and a work of art. The naturalistic representation of a lion contains elements necessary for an accurate scientific rendering of this animal. His anatomy and features are clearly displayed, and his pose indicates his natural gesture and movement. Although the lion seems to be at rest, his right hind leg could also be situated for a profile study. The delicate curve of the body from the tail, through the back to the front left paw indicates the grace of this powerful animal. His face is seen at a slight angle, allowing Dürer to show both the shape and depth of the head and mane. The anatomical details and choice of pose allowed Dürer to present the lion in what would be a very natural situation.
In this sense, the painting is a very detailed scientific image, considering it was not painted from life, but was probably based on A Lion of St. Mark (Strieder 218). In other studies of lions, Dürer uses silverpoint or watercolor on a white background. For this painting, however, he chose to insert a gestural landscape background, possibly to place the lion in what might be his natural surroundings. Whatever his reasons, this study of a lion stands apart from his later renderings in its inclusion of a landscape. While a few details can be gleaned from the background, there is little to indicate anything beyond rock and grass. The rock face frames the head of the lion, and the golden blades of grass bring the color of the beast out into his surroundings. It is also possible to suggest the presence of a watering hole above (behind) the lion’s back, but this is simple conjecture as there is not enough detail to support distinct forms in the landscape.
Beyond its value as a scientific illustration, there are also details that set this painting apart as a work of art. For instance, the presence of a background that suggests the creature’s natural habitat also is a unique feature of this study that does not appear in his later drawings and paintings of lions from his visit to the Netherlands (Koreny 160-64). I argue that all of his lion studies have immense value as works of art as well as scientific illustrations, but A Lion in particular stands out because of Dürer’s use of bright color. The same landscape that placed the lion in its natural habitat also moves away from accurate rendering because it is so simple and gestural.
In addition to the artistic value of the background, several details in the figure itself enhance the character of the lion and give it semi-human qualities. The most prominent of these is the expression of the lion’s face. His yellow-gold eyes look out with intelligence, confidence, and pride. The confidence seems (to me) to continue to be expressed through what is very nearly a smirk that appears on his face. Finally, the delicacy with which his front paws rest on the ground brings grace to his powerful frame. This lion, while completely wild and natural, also displays characteristics that set this work apart as a unique combination of scientific illustration and work or art. It can be viewed as one or the other, but is best appreciated as both.
Sources:
Fritz Koreny. Albrecht Dürer and the Animal and Plant Studies of the Renaissance. p. 160-64.
Peter Strieder. Albrecht Dürer, Paintings, Prints and Drawings. p. 218.
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