Madonna By The Wall
Young Man Leaning Forward And Working With A large Drill
The Seven Sorrows of the Virgin
The Seven Sorrows of the Virgin - Mother of Sorrows
The Seven Sorrows of the Virgin - The Flight into Egypt
Venezianische junge Frau
Weeping Cherub
The Citadel Of Arco In The South Tyrol
The Desperate Man
The Dresden Altarpiece
The Jabach Altarpiece
The Knight, Death and the Devil
St. Thomas
Sudarium Displayed By Two Angels
Sudarium Spread Out By An Angel
Sylvan Men with Heraldic Shields
The Bagpiper
St. Jerome In His Study (Without Cardinal's Robes)+.jpg)
St. Paul (Second State).jpg)
St. Peter And St. John Healing The Cripple
St. Philip
St. Simon
Side, Front, And Back View Of A Helmet
St Jerome in the Wilderness
St. Anthony
St. Christopher Facing To The Left
St. Christopher Facing To The Right
Portrait of St Sebastian with an Arrow
Refusal of Joachim's Offer
Self Portrait
Self-portrait at 22
Self-Portrait at 26
Portrait of a Young Fürleger with Loose Hair
Portrait of Dürer's Father at 70
Portrait of Emperor Maximillian I
Portrait of Oswald Krel
Portrait of Oswolt Krel
Paumgartner Altar (central panel).jpg)
Paumgartner Altar (central panel)11.jpg)
Paumgartner Altar (detail of right wing).jpg)
Paumgartner Altar (left wing).jpg)
Paumgartner Altar (right wing).jpg)
Madonna with the Siskin
Man Of Sorrows, Seated
Mass
Matyrdom of the Ten Thousand
Paumgartner Altar
Head Of An Old Man
Job and His Wife
Lamentation for Christ
Lot Fleeing with his Daughters from Sodom
Eve
Four Apostles
Frederick The Wise, Elector Of Saxony
Hands
Head of an Angel
Christ Before Caiaphas (Engraved Passion).jpg)
Combined Coat-of-Arms of the Tucher and Rieter Families
durer_head
Durer's Mother
Erasmus Of Rotterdam
Annunciation
Apollo and Diana
Bearing Of The Cross (Engraved Passion).jpg)
Christ among the Doctors
Christ as the Man of Sorrows
Adam
Adoration of the Magi
Adoration of the Trinity
Agony In The Garden
Alliance Coat of Arms of the Dürer and Holper Families
Albrecht Durer (1471-1528)
A supremely gifted and versatile German artist of the Renaissance period, Albrecht Dürer (1471–1528) was born in the Franconian city of Nuremberg, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries. He was a brilliant painter, draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking. Dürer apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications. An admirer of his compatriot Martin Schongauer, Dürer revolutionized printmaking, elevating it to the level of an independent art form. He expanded its tonal and dramatic range, and provided the imagery with a new conceptual foundation. By the age of thirty, Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Apocalypse (1498), the Large Woodcut Passion cycle (ca. 1497–1500), and the Life of the Virgin (begun 1500). He went on to produce independent prints, such as the engraving Adam and Eve, and small, self-contained groups of images, such as the so-called Master Engravings featuring Knight, Death, and the Devil, Saint Jerome in His Study (1514), and Melancholia I, which were intended more for connoisseurs and collectors than for popular devotion. Their technical virtuosity, intellectual scope, and psychological depth were unmatched by earlier printed work.
More than any other Northern European artist, Dürer was engaged by the artistic practices and theoretical interests of Italy. He visited the country twice, from 1494 to 1495 and again from 1505 to 1507, absorbing firsthand some of the great works of the Italian Renaissance, as well as the classical heritage and theoretical writings of the region. The influence of Venetian color and design can be seen in the Feast of the Rose Garlands altarpiece (1506; Prague, Národní Galerie), commissioned from Dürer by a German colony of merchants living in Venice. Dürer developed a new interest in the human form, as demonstrated by his nude and antique studies. Italian theoretical pursuits also resonated deeply with the artist. He wrote Four Books of Human Proportion (Vier Bücher von menschlichen Proportion), only the first of which was published during his lifetime (1528), as well as an introductory manual of geometric theory for students (Underweysung der Messung), which includes the first scientific treatment of perspective by a Northern European artist.
Dürer's talent, ambition, and sharp, wide-ranging intellect earned him the attention and friendship of some of the most prominent figures in German society. He became official court artist to Holy Roman Emperors Maximilian I and his successor Charles V, for whom Dürer designed and helped execute a range of artistic projects. In Nuremberg, a vibrant center of humanism and one of the first to officially embrace the principles of the Reformation, Dürer had access to some of Europe's outstanding theologians and scholars, including Erasmus, Philipp Melanchthon, and Willibald Pirkheimer, each captured by the artist in shrewd portraits. For Nuremberg's town hall, the artist painted two panels of the Four Apostles (1526; Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek), bearing texts in Martin Luther's translation that pay tribute to the city's adoption of Lutheranism. Hundreds of surviving drawings, letters, and diary entries document Dürer's travels through Italy and the Netherlands (1520–21), attesting to his insistently scientific perspective and demanding artistic judgment.
The artist also cast a bold light on his own image through a number of striking self-portraits—drawn, painted, and printed. They reveal an increasingly successful and self-assured master, eager to assert his creative genius and inherent nobility, while still marked by a clear-eyed, often foreboding outlook. They provide us with the cumulative portrait of an extraordinary Northern European artist whose epitaph proclaimed: "Whatever was mortal in Albrecht Dürer lies beneath this mound."
More than any other Northern European artist, Dürer was engaged by the artistic practices and theoretical interests of Italy. He visited the country twice, from 1494 to 1495 and again from 1505 to 1507, absorbing firsthand some of the great works of the Italian Renaissance, as well as the classical heritage and theoretical writings of the region. The influence of Venetian color and design can be seen in the Feast of the Rose Garlands altarpiece (1506; Prague, Národní Galerie), commissioned from Dürer by a German colony of merchants living in Venice. Dürer developed a new interest in the human form, as demonstrated by his nude and antique studies. Italian theoretical pursuits also resonated deeply with the artist. He wrote Four Books of Human Proportion (Vier Bücher von menschlichen Proportion), only the first of which was published during his lifetime (1528), as well as an introductory manual of geometric theory for students (Underweysung der Messung), which includes the first scientific treatment of perspective by a Northern European artist.
Dürer's talent, ambition, and sharp, wide-ranging intellect earned him the attention and friendship of some of the most prominent figures in German society. He became official court artist to Holy Roman Emperors Maximilian I and his successor Charles V, for whom Dürer designed and helped execute a range of artistic projects. In Nuremberg, a vibrant center of humanism and one of the first to officially embrace the principles of the Reformation, Dürer had access to some of Europe's outstanding theologians and scholars, including Erasmus, Philipp Melanchthon, and Willibald Pirkheimer, each captured by the artist in shrewd portraits. For Nuremberg's town hall, the artist painted two panels of the Four Apostles (1526; Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek), bearing texts in Martin Luther's translation that pay tribute to the city's adoption of Lutheranism. Hundreds of surviving drawings, letters, and diary entries document Dürer's travels through Italy and the Netherlands (1520–21), attesting to his insistently scientific perspective and demanding artistic judgment.
The artist also cast a bold light on his own image through a number of striking self-portraits—drawn, painted, and printed. They reveal an increasingly successful and self-assured master, eager to assert his creative genius and inherent nobility, while still marked by a clear-eyed, often foreboding outlook. They provide us with the cumulative portrait of an extraordinary Northern European artist whose epitaph proclaimed: "Whatever was mortal in Albrecht Dürer lies beneath this mound."
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