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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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St Eustace
1501 Engraving, 355 x 259 mm Fogg Art Museum, Cambridge The print is often erroneously called "St Hubert." This is D?rer's largest single-leaf copper engraving. He frequently sold impressions of it or gave them away as presents during his journey to the Netherlands. The legend of St Eustace is narrated in the Legenda aurea and is freely adapted in D?rer's picture. The Roman officer Placidus was converted to Christianity by a vision of a stag who spoke with the voice of Christ and carried a crucifix in its antlers, and he then took the name of Eustace. Here, the scene is taking place in the middle of a forest landscape, next to a pond. The statue-like depiction of the horse and the greyhounds, which are shown in five different body positions, shows that D?rer was more interested in reproducing proportions than in creating a precisely detailed account of the Christian legend. D?rer carefully avoided any overlapping of the animals. In this end and other details this print is closely related to Pisanello's painting of the same subject (National Gallery, London). The unusually large size of the plate appears to have caused some difficulty in printing. Even some of the best impressions have some squeezed lines near the edges. There are impressions on satin, all posthumous, at Coburg, Boston, Vienna, Gotha and Frankfurt.Artist:D?RER, Albrecht Title: St Eustace Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63579
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St_Eustace
1501 Engraving, 355 x 259 mm Fogg Art Museum, Cambridge The print is often erroneously called "St Hubert." This is D?rer's largest single-leaf copper engraving. He frequently sold impressions of it or gave them away as presents during his journey to the Netherlands. The legend of St Eustace is narrated in the Legenda aurea and is freely adapted in D?rer's picture. The Roman officer Placidus was converted to Christianity by a vision of a stag who spoke with the voice of Christ and carried a crucifix in its antlers, and he then took the name of Eustace. Here, the scene is taking place in the middle of a forest landscape, next to a pond. The statue-like depiction of the horse and the greyhounds, which are shown in five different body positions, shows that D?rer was more interested in reproducing proportions than in creating a precisely detailed account of the Christian legend. D?rer carefully avoided any overlapping of the animals. In this end and other details this print is closely related to Pisanello's painting of the same subject (National Gallery, London). The unusually large size of the plate appears to have caused some difficulty in printing. Even some of the best impressions have some squeezed lines near the edges. There are impressions on satin, all posthumous, at Coburg, Boston, Vienna, Gotha and Frankfurt.Artist:D?RER, Albrecht Title: St Eustace Painted in 1501-1550 , German - - graphics : religious
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Nemesis or Good Fortune
1502 Engraving, 332 x 232 mm Staatliche Kunsthalle, Karlsruhe This engraving was created between 1501 and 1503 and was one of D?rer's main large format engravings. The female figure is derived from the poem Manto by the Italian poet and humanist Poliziano, which D?rer presumably became acquainted with when studying in the library of his humanist friend, Willibald Pirckheimer. The poem combines the goddesses of Revenge and Fate. The female shape is floating along above the clouds on a globe and with eagle wings, holding a goblet in her right hand and bridle in her left. She is the result of D?rer's studies of Vitruvius' proportions. Copies of this print were frequently given as presents by D?rer during his trip to the Netherlands during 1520-21. Vasari describes it as "a nude figure floating in the clouds, representing Temperance, with magnificent wings, a golden cup and reins in her hands." The reins signify restraint from temptation that should be exercised by man; the sphere uncertainty. The figure is proportioned according to the canon of Vitruvius. The landscape below has been identified as the village of Klausen (Chiusa) in the Valle d'Isarco in the Tyrol, which lay on D?rer's route of travel to Venice.Artist:D?RER, Albrecht Title: Nemesis or Good Fortune Painted in 1501-1550 , German - - graphics : mythological
Painting ID:: 63580
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Nemesis_or_Good_Fortune
1502 Engraving, 332 x 232 mm Staatliche Kunsthalle, Karlsruhe This engraving was created between 1501 and 1503 and was one of D?rer's main large format engravings. The female figure is derived from the poem Manto by the Italian poet and humanist Poliziano, which D?rer presumably became acquainted with when studying in the library of his humanist friend, Willibald Pirckheimer. The poem combines the goddesses of Revenge and Fate. The female shape is floating along above the clouds on a globe and with eagle wings, holding a goblet in her right hand and bridle in her left. She is the result of D?rer's studies of Vitruvius' proportions. Copies of this print were frequently given as presents by D?rer during his trip to the Netherlands during 1520-21. Vasari describes it as "a nude figure floating in the clouds, representing Temperance, with magnificent wings, a golden cup and reins in her hands." The reins signify restraint from temptation that should be exercised by man; the sphere uncertainty. The figure is proportioned according to the canon of Vitruvius. The landscape below has been identified as the village of Klausen (Chiusa) in the Valle d'Isarco in the Tyrol, which lay on D?rer's route of travel to Venice.Artist:D?RER, Albrecht Title: Nemesis or Good Fortune Painted in 1501-1550 , German - - graphics : mythological
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Apollo and Diana
1502 Engraving, 115 x 70 mm Metropolitan Museum of Art, New York Closely related to the very similar engraving by Jacopo de Barbari. In no other plate, except Adam and Eve is there such delicate modelling of the flesh. The contrast of male and female is emphasized by the introduction of movement. The head of Diana is almost identical to the one in the drawing Woman Riding a Dolphin, dated 1503. The D of the monogram shows a correction.Artist:D?RER, Albrecht Title: Apollo and Diana Painted in 1501-1550 , German - - graphics : mythological
Painting ID:: 63581
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Apollo_and_Diana
1502 Engraving, 115 x 70 mm Metropolitan Museum of Art, New York Closely related to the very similar engraving by Jacopo de Barbari. In no other plate, except Adam and Eve is there such delicate modelling of the flesh. The contrast of male and female is emphasized by the introduction of movement. The head of Diana is almost identical to the one in the drawing Woman Riding a Dolphin, dated 1503. The D of the monogram shows a correction.Artist:D?RER, Albrecht Title: Apollo and Diana Painted in 1501-1550 , German - - graphics : mythological
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Madonna on a Grassy Bench
1503 Engraving, 115 x 70 mm Fogg Art Museum, Cambridge Except for The Four Witches, this is the first of D?rer's engravings to bear a date. Henceforth he dated them consistently. Vasari remarks that D?rer here "surpassed Martin Schongauer, as well as himself." This engraving, based on a preparatory drawing, is the most sensitive of the early Madonnas, quite in the convivial style of the Life of the Virgin woodcut series.Artist:D?RER, Albrecht Title: Madonna on a Grassy Bench Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63582
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Madonna_on_a_Grassy_Bench
1503 Engraving, 115 x 70 mm Fogg Art Museum, Cambridge Except for The Four Witches, this is the first of D?rer's engravings to bear a date. Henceforth he dated them consistently. Vasari remarks that D?rer here "surpassed Martin Schongauer, as well as himself." This engraving, based on a preparatory drawing, is the most sensitive of the early Madonnas, quite in the convivial style of the Life of the Virgin woodcut series.Artist:D?RER, Albrecht Title: Madonna on a Grassy Bench Painted in 1501-1550 , German - - graphics : religious
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The Adoration
1524 Pen, 215 x 294 mm Graphische Sammlung Albertina, Vienna Perhaps this is a study for the introductory piece of the last, uncompleted, Passion woodcut series. The nobility of the composition is combined with a truly radiant beauty of line.Artist:D?RER, Albrecht Title: The Adoration of the Wise Man Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63583
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The_Adoration
1524 Pen, 215 x 294 mm Graphische Sammlung Albertina, Vienna Perhaps this is a study for the introductory piece of the last, uncompleted, Passion woodcut series. The nobility of the composition is combined with a truly radiant beauty of line.Artist:D?RER, Albrecht Title: The Adoration of the Wise Man Painted in 1501-1550 , German - - graphics : study
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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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