Albrecht Durer
b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
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Albrecht Durer Six Goblets - Pen oil painting


Six Goblets - Pen
200 x 285 mm Bibliothek, Dresden The legend reads: "morgen will ich ir mer machn" (tomorrow I shall make more of them). Individual Italian motifs are mingled with the German late Gothic style.Artist:D?RER, Albrecht Title: Six Goblets Painted in 1501-1550 , German - - graphics : other
Painting ID::  63684 		Albrecht Durer
Six Goblets - Pen
200 x 285 mm Bibliothek, Dresden The legend reads: "morgen will ich ir mer machn" (tomorrow I shall make more of them). Individual Italian motifs are mingled with the German late Gothic style.Artist:D?RER, Albrecht Title: Six Goblets Painted in 1501-1550 , German - - graphics : other
   
   
     
Albrecht Durer Head of a Negro oil painting


Head of a Negro
1508 Charcoal, 320 x 218 mm Graphische Sammlung Albertina, Vienna This study was done in Nuremberg. A Negro always figured in scenes of the Adoration of the Wise Men. This drawing is parallel in time with the studies for the Heller Altar; in comparison with them it has a special freshness.Artist:D?RER, Albrecht Title: Head of a Negro Painted in 1501-1550 , German - - graphics : study
Painting ID::  63685 		Albrecht Durer
Head of a Negro
1508 Charcoal, 320 x 218 mm Graphische Sammlung Albertina, Vienna This study was done in Nuremberg. A Negro always figured in scenes of the Adoration of the Wise Men. This drawing is parallel in time with the studies for the Heller Altar; in comparison with them it has a special freshness.Artist:D?RER, Albrecht Title: Head of a Negro Painted in 1501-1550 , German - - graphics : study
   
   
     
Albrecht Durer Nuremberg and Venetian Women oil painting


Nuremberg and Venetian Women
1496-97 Pen drawing on paper, 241 x 160 mm St?delsches Kunstinstitut, Frankfurt This pen drawing is an eloquent example of D?rer's interest in costumes, which he here places side by side comparatively. The two women, one from Nuremberg and one from Venice, appear as if they were taking a stroll together in Venice. The lavish ornamentation and low neckline of the liberal, pretty Venetian costume contrasts with the modest, simple dress of the Nuremberg woman.Artist:D?RER, Albrecht Title: Nuremberg and Venetian Women Painted in 1501-1550 , German - - graphics : other
Painting ID::  63686 		Albrecht Durer
Nuremberg and Venetian Women
1496-97 Pen drawing on paper, 241 x 160 mm St?delsches Kunstinstitut, Frankfurt This pen drawing is an eloquent example of D?rer's interest in costumes, which he here places side by side comparatively. The two women, one from Nuremberg and one from Venice, appear as if they were taking a stroll together in Venice. The lavish ornamentation and low neckline of the liberal, pretty Venetian costume contrasts with the modest, simple dress of the Nuremberg woman.Artist:D?RER, Albrecht Title: Nuremberg and Venetian Women Painted in 1501-1550 , German - - graphics : other
   
   
     
Albrecht Durer Alliance Coat of Arms oil painting


Alliance Coat of Arms
1490 Oil on panel, 47 x 39 cm Galleria degli Uffizi, Florence The picture shows the rear view of the Portrait of Albrecht D?rer the Elder. The painted variant on the alliance coat of arms of the D?rer and Holper families, a so-called speaking coat of arms, is also depicted in a woodcut dating from 1523. It forms the back side of D?rer's first portrait of his father in 1490. The family's coat of arms depicts an open barn door on the left, which was presumably a symbol of the family name. The name means the same as "T?rer," the German translation of "Ajto" (door), their place of origin Ajtos near Gyula, the capital of the B?k?s district.Artist:D?RER, Albrecht Title: Alliance Coat of Arms of the D?rer and Holper Families Painted in 1501-1550 , German - - painting : other
Painting ID::  63725 		Albrecht Durer
Alliance Coat of Arms
1490 Oil on panel, 47 x 39 cm Galleria degli Uffizi, Florence The picture shows the rear view of the Portrait of Albrecht D?rer the Elder. The painted variant on the alliance coat of arms of the D?rer and Holper families, a so-called speaking coat of arms, is also depicted in a woodcut dating from 1523. It forms the back side of D?rer's first portrait of his father in 1490. The family's coat of arms depicts an open barn door on the left, which was presumably a symbol of the family name. The name means the same as "T?rer," the German translation of "Ajto" (door), their place of origin Ajtos near Gyula, the capital of the B?k?s district.Artist:D?RER, Albrecht Title: Alliance Coat of Arms of the D?rer and Holper Families Painted in 1501-1550 , German - - painting : other
   
   
     
Albrecht Durer Feast of the Rose Garlands oil painting


Feast of the Rose Garlands
1506 Oil on poplar panel National Gallery, Prague The Feast of the Rose Garlands is undoubtedly the most important work that D?rer created during his sojourn in Venice and was the work that ushered in the Renaissance. D?rer was obviously aware of this, as his letters and the painting itself demonstrate. The painting shows this in the distinction he gives his self-portrait: in the top right, in front of the typically German landscape passage at the foot of the mountains, with his face framed by long blond hair, donning luxurious clothes - even a precious fur cloak, in spite of the warm season - so as to be noticed among the other characters. He alone has ostentatiously turned his gaze to the spectator. Even the writing on the paper he holds is unusual for Italy. It indicates not only the time of production (five months), but next to his own name is the indication germanus. This detail was to distinguish himself from his Venetian colleagues, who evidently held him in very high regard, since even the doge and the patriarch came to his workshop to admire his work. The artist's companion is likely to be Leonhard Vilt, founder of the Brotherhood of the Rosary in Venice. The man in the far right, recognizable by the square he holds, is the architect Hieronymus of Augsburg, engineer of the new Fondaco dei Tedeschi (1505-8) after it was completely destroyed in a fire. Inscription on the sheet in the artist's hand, monogrammed and autograph writing: EXEGIT QUINQUE MESTRI SPATIO ALBERTUS DURER GERMANUS MDVI. (`Albrecht D?rer, a German, produced it within the span of five months. 1506.')Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious
Painting ID::  63726 		Albrecht Durer
Feast of the Rose Garlands
1506 Oil on poplar panel National Gallery, Prague The Feast of the Rose Garlands is undoubtedly the most important work that D?rer created during his sojourn in Venice and was the work that ushered in the Renaissance. D?rer was obviously aware of this, as his letters and the painting itself demonstrate. The painting shows this in the distinction he gives his self-portrait: in the top right, in front of the typically German landscape passage at the foot of the mountains, with his face framed by long blond hair, donning luxurious clothes - even a precious fur cloak, in spite of the warm season - so as to be noticed among the other characters. He alone has ostentatiously turned his gaze to the spectator. Even the writing on the paper he holds is unusual for Italy. It indicates not only the time of production (five months), but next to his own name is the indication germanus. This detail was to distinguish himself from his Venetian colleagues, who evidently held him in very high regard, since even the doge and the patriarch came to his workshop to admire his work. The artist's companion is likely to be Leonhard Vilt, founder of the Brotherhood of the Rosary in Venice. The man in the far right, recognizable by the square he holds, is the architect Hieronymus of Augsburg, engineer of the new Fondaco dei Tedeschi (1505-8) after it was completely destroyed in a fire. Inscription on the sheet in the artist's hand, monogrammed and autograph writing: EXEGIT QUINQUE MESTRI SPATIO ALBERTUS DURER GERMANUS MDVI. (`Albrecht D?rer, a German, produced it within the span of five months. 1506.')Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious
   
   
     
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     Albrecht Durer
     b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.

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