All Albrecht Durer 's Paintings
The Painting Names Are Sorted From A to Z

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Choice ID Image  Paintings (From A to Z)       Details 
63574 Christ on the Mount of Olives  Christ on the Mount of Olives   1521 Pen and ink, 208 x 294 mm St?delsches Kunstinstitut, Frankfurt Christ is lying completely flat on the ground ("fell on his face, and prayed"); D?rer could have seen this posture depicted by Mantegna. The rocks in starlike layers and the veil of mist pressing down from above lend support to the effect of the motif. The Apostles are small and are sitting off to a side by themselves.Artist:D?RER, Albrecht Title: Christ on the Mount of Olives Painted in 1501-1550 , German - - graphics : religious
42221 Christ,Man of Sorrow,with Durer-s Features  Christ,Man of Sorrow,with Durer-s Features   mk168 1522 Drawing in Lead-point
86372 Christus als Schmerzensmann  Christus als Schmerzensmann   Date 1493/94 Medium Oil and tempera on wood Dimensions 30,1 x 18,8 cm cjr
63587 Coat-of-Arms with a Skull  Coat-of-Arms with a Skull   1503 Engraving, 220 x 156 mm Art Institute, Chicago This engraving is not mentioned in D?rer's diary of his trip to the Low Countries in 1520/21. The subject seems to be connected with the Bavarian War of 1503. Duke George the Rich had died that year without male issue. Contrary to Imperial law, he left his lands to his daughter. This led to the War of the Bavarian Succession, in which the city of Nuremberg was deeply involved. Her army captured much of the surrounding territory and Nuremberg became the largest of the "free cities" of the Empire. This engraving appears to be an allegory of this war, which ended badly for the ill-advised titled lady. The Emperor deprived her of her lands, while Nuremberg was permitted to retain the conquered territory.Artist:D?RER, Albrecht Title: Coat-of-Arms with a Skull Painted in 1501-1550 , German - - graphics : other
52012 Combined Coat-of-Arms of the Tucher and Rieter Families  Combined Coat-of-Arms of the Tucher and Rieter Families   1499 Oil on panel, 28 x 24 cm
52055 Courtyard of the Former Castle in Innsbruck without Clouds  Courtyard of the Former Castle in Innsbruck without Clouds   1494 Watercolour on paper, 335 x 267 mm
42311 Dancing Peasant Couple  Dancing Peasant Couple   mk168 1514 118x75mm
63659 Death of Orpheus  Death of Orpheus   1494 Pen drawing, 289 x 225 mm Kunsthalle, Hamburg This drawing is probably derived from a painting by Andrea Mantegna, whose printed graphics D?rer copied. Mantegna in his turn was using Greco-Roman models. This landscape, the details of the drapery folds and the handling of the line in general are worked out in a quite independent fashion. The centre of the picture is the male nude in motion. According to the Metamorphoses by the classical author Ovid (43 B.C.-17/18 A.D.), Orpheus introduced homosexual love to Thrace and for that reason is beaten to death by two Thracian women during a bacchanal. The group of figures is placed before a central tree in which an open book with music is hanging. The classical singer's lyre is lying at his feet. In the tree a banderole with legends: "Orfeus der erst puseran" (Orpheus, the first pederast). The woman at the left and the boy were used by D?rer a few years later in the engraving known as "Jealousy" (more correctly "Chastity and Unchastity").Artist:D?RER, Albrecht Title: Death of Orpheus Painted in 1501-1550 , German - - graphics : mythological
63632 Deposition  Deposition   1512 Engraving, 117 x 74 mm Metropolitan Museum of Art, New York Sheet No. 13 of the Engraved Passion. In this case the engraved and woodcut version can be easily compared. Both were executed at about the same time. One is the most complicated, the other the simplest solution. In the engraving some of the dignity is sacrificed by the complicated overlappings, as in the case of Christ's body. The woodcut version of the Small Passion was difficult to surpass in the engraving. D?rer decided to use the tomb as seen from the front, making for the interesting overlappings. The gentle dignity of the woodcut version was, however, lost. It is not quite clear which one of the praying women is the Virgin Mary.Artist:D?RER, Albrecht Title: Deposition (No. 13) Painted in 1501-1550 , German - - graphics : religious
42224 Desiderius Erasmus of Rotterdam  Desiderius Erasmus of Rotterdam   mk168 1520 Charcoal on paper 373x271mm Pairs
42239 Design for the Great triuphal Chariot of Emperor Maximilian i  Design for the Great triuphal Chariot of Emperor Maximilian i   mk168 Pen and ink on paper iwth waterclor 1518 460x2530mm
63680 Design of a Goblet with a Variant of the Base  Design of a Goblet with a Variant of the Base   1515 Pen, 256 x 167 mm British Museum, LondonArtist:D?RER, Albrecht Title: Design of a Goblet with a Variant of the Base Painted in 1501-1550 , German - - graphics : other
88856 Die Ferlegerin mit geflochtenem Haar  Die Ferlegerin mit geflochtenem Haar   1497(1497) Medium oil on canvas Dimensions 56.5 x 42.5 cm (22.2 x 16.7 in) cyf
82399 Die Ferlegerin mit offenem Haar  Die Ferlegerin mit offenem Haar   1497(1497) Medium Oil on canvas Dimensions 56 x 43 cm (22 x 16.9 in) cyf
96054 Die Furlegerin mit offenem Haar  Die Furlegerin mit offenem Haar   1497(1497) Medium oil on canvas Dimensions 56 x 43 cm (22 x 16.9 in) cjr
83380 Die Madonna mit der Birnenschnitte  Die Madonna mit der Birnenschnitte   1512(1512) Medium Deutsch: Holz Dimensions Deutsch: 49 x 37 cm cyf
89306 Die sieben Schmerzen Maria, Mitteltafel  Die sieben Schmerzen Maria, Mitteltafel   c. 1494 - 1497 Medium oil on panel Dimensions Deutsch: 63 x 46 cm cjr
90282 Die sieben Schmerzen Maria, Mitteltafel  Die sieben Schmerzen Maria, Mitteltafel   c. 1494-1497 Medium oil on panel Dimensions 109,2 x 43,3 cm cjr
34372 Die Vier Apostel  Die Vier Apostel   mk92 1526 206x76cm Munchen,Bayerische Staatsgemaldesammlung
76310 Dreikonigsaltar  Dreikonigsaltar   Deutsch: um 1504 English: c. 1504 Medium Oil on panel Dimensions Deutsch: 96 ?? 54 cm cyf
42212 Durer-s Mother Barbara,Nee Holper  Durer-s Mother Barbara,Nee Holper   mk168 on top in the center,the year 1514
42217 Durer-s wife Agnes  Durer-s wife Agnes   mk168 156x98mm
42448 Ecce Homo  Ecce Homo   mk168 1512 117x75mm
78620 Ecce Homo  Ecce Homo   Oil on panel Dimensions Deutsch: 30 x 19 cm cyf
79673 Ecce Homo  Ecce Homo   Oil on panel Dimensions Deutsch: 30 x 19 cm cyf
42389 Elector Frederick the Wise  Elector Frederick the Wise   mk168 76x57mm
42416 Elector Frederick The Wise  Elector Frederick The Wise   mk168 192x127mm 1524
42390 Elsbeth Tucher  Elsbeth Tucher   mk168 29x23cm Oil on linden wood
42236 Emperor charlemagne  Emperor charlemagne   mk168 215x115.3cm oil on lindenwood
42237 Emperor charlemagne  Emperor charlemagne   mk168 Oil on canvas 85x65cm
63740 Emperor Charlemagne  Emperor Charlemagne   1512 Oil on lindenwood, 188 x 87,6 cm Germanisches Nationalmuseum, Nuremberg The idealized portrait of Emperor Charlemagne was intended for the "Heiltumskammer" in the Schoppersche House by the marketplace, together with the portrait of Emperor Sigismund of Poland (also in Nuremberg). This was where the coronation insignia and relics were kept, which were put on display once a year at the so-called "Heiltumsweisungen." The physiognomy of Charlemagne, shown in the magnificent original coronation robes, is reminiscent of depictions of God the Father. The crown, sword and imperial orb were prepared by D?rer in sketches. The German imperial coat of arms and French coat of arms with the fleur-de-lis are emblazoned at the top.Artist:D?RER, Albrecht Title: Emperor Charlemagne Painted in 1501-1550 , German - - painting : portrait
52019 Emperor Charlemagne and Emperor Sigismund  Emperor Charlemagne and Emperor Sigismund   c. 1512 Oil and tempera on panel, 215 x 115 cm
39730 Emperor Maximilian  Emperor Maximilian   mk150 1519 74x61.5cm
52028 Emperor Maximilian  Emperor Maximilian   1519 Tempera on canvas, 83 x 65 cm
42240 Emperor Maximilian i  Emperor Maximilian i   mk168 381x319mm
63748 Emperor Maximilian I  Emperor Maximilian I   1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait
84395 Emperor Maximilian I  Emperor Maximilian I   Date 1519(1519) Medium Oil on linden Dimensions Height: 74 cm (29.1 in). Width: 62 cm (24.4 in). cjr
88185 Emperor Maximilian I  Emperor Maximilian I   1519(1519) Medium Oil on linden cyf
52020 Emperor Sigismund  Emperor Sigismund   c. 1512 Oil on lindenwood, 187,7 x 87,5 cm
42211 Endres Durer  Endres Durer   mk168 1484-1555 entered the Nuremberg gold-smiths-guild as a master in 1514
42231 Eobanus Hesse with the monogram of the artist  Eobanus Hesse with the monogram of the artist   mk168 169x117mm London
42341 Equestrian Kninght in Armor  Equestrian Kninght in Armor   mk168 410x324mm
42241 Erasmus of Rotterdam  Erasmus of Rotterdam   mk168 249x193mm
28092 Eva  Eva   mk61 1507 Oil on panel 209x80cm
74567 Eva  Eva   209 X 83 cm 1507(1507) Oil on panel cjr
76117 Eva  Eva   1507(1507) Medium Oil on panel cyf
42372 Exit from a Quarry  Exit from a Quarry   mk168 Pen and ink on paper 325x218mm
63726 Feast of the Rose Garlands  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
63727 Feast of the Rose Garlands  Feast of the Rose Garlands   1506 Oil on poplar panel National Gallery, Prague The detail shows the artist's self-portrait in front of ae typically German landscape.Artist:D?RER, Albrecht Title: Feast of the Rose Garlands (detail) Painted in 1501-1550 , German - - painting : religious
88607 Feast of the Rose Garlands  Feast of the Rose Garlands   1506(1506) Medium Oil on poplar Dimensions Height: 162 cm (63.8 in). Width: 194.5 cm (76.6 in). cjr
42393 Felicitas Tucher,nee Rieter  Felicitas Tucher,nee Rieter   mk168 Oil on wood 28x24cm
63670 Female Nude from Behind  Female Nude from Behind   1495 Brush drawing on paper, 32 x 21 cm Mus?e du Louvre, Paris This female nude seen from behind records D?rer's interest in human proportions during his first Italian journey. The attributes, staff and cloth, suggest that this freely drawn nude study was created from a model. The firmly sketched shape of her body forms a charming contrast with the glazed, freely swinging cloth. The head and cloth are executed with gentle brushstrokes and clearly show a spatially plastic relationship between the figure and pictorial space.Artist:D?RER, Albrecht Title: Female Nude from Behind Painted in 1501-1550 , German - - graphics : study
63566 Five Lansquenets and an Oriental on Horseback  Five Lansquenets and an Oriental on Horseback   1495 Engraving, 132 x 147 mm Metropolitan Museum of Art, New York In early commentaries the scene was described as a band of robbers attacking D?rer, or as William Tell. More recently it has been suggested that it had originally been intended as a scene beneath the Cross. Italian influence is manifest, but the grouping, particularly the position of the Oriental horseman, is a little awkward. Note the scotch plaid pattern of the Turk's saddlecloth.Artist:D?RER, Albrecht Title: Five Lansquenets and an Oriental on Horseback Painted in 1501-1550 , German - - graphics : other
63595 Five Male Nudes  Five Male Nudes   185 x 195 mm Staatliche Museen, Berlin This drawing, in woodcut style, may have been a study for a Resurrection.Artist:D?RER, Albrecht Title: Five Male Nudes Painted in 1501-1550 , German - - graphics : study
21358 Four Apostles (mk08)  Four Apostles (mk08)   1526 Oil on wood Munich,Bayerische Staats-gemaldesmmlungen,Alte Pinakothek
42417 Frederick II  Frederick II   mk168 164x117mm Silver-Point on prepared paper
42218 Girl in Cologne Attire and Agnes Durer  Girl in Cologne Attire and Agnes Durer   mk168 129x190mm Vienna,Albertina
63667 Green Passion: Christ before Caiaphas  Green Passion: Christ before Caiaphas   1504 Pen drawing on green primed paper, 283 x 178 mm Graphische Sammlung Albertina, Vienna The Green Passion, so named after the green primed paper, consists of twelve sheets, the purpose of which is not known. It has been assumed that they were used as preliminary sketches for stained glass windows. Like the other pictures, the sheet of Christ before Caiaphas distinguishes itself through its fine white highlights which achieve a magical plasticity and dramatic lighting - as was created by the "clair-obscur" technique - in their harmony with the green base colour of the scene. Christ and Pilate, the two antagonists in the foreground, are positioned opposite each other and emphasized both by the lighting and the architecture.Artist:D?RER, Albrecht Title: Green Passion: Christ before Caiaphas Painted in 1501-1550 , German - - graphics : religious
63663 Hand Study with Bible - Drawing  Hand Study with Bible - Drawing   280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study
42392 Hans Tucher  Hans Tucher   mk168 28x24cm Oil on wood
55986 hare  hare   1502,watercolor on paper,9.875x9.125 in,25x23 cm,graphische sammlung albertina,vienna,austria
63634 Harrowing of Hell  Harrowing of Hell   1512 Engraving, 117 x 73 mm Metropolitan Museum of Art, New York Sheet No. 14 of the Engraved Passion. Adam and Eve are on the left, Moses is behind them, Cerberus above. The contrast between engraved and woodcut versions is similar to that described for the Deposition. The man whose arm Christ is touching is probably St John the Baptist. This print is a new and felicitous rendering, bearing witness to D?rer's inventiveness and imagination. Eve looks charming next to the aged Adam.Artist:D?RER, Albrecht Title: Harrowing of Hell; or, Christ in Limbo (No. 14) Painted in 1501-1550 , German - - graphics : religious
42491 Head of a boy facing toward the right  Head of a boy facing toward the right   mk168 226x193mm Watercolor on paper
42492 Head of a boy facing toward the left  Head of a boy facing toward the left   mk168 223x181mm Paris
63685 Head of a Negro  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
42288 Head of a Weeping cherub  Head of a Weeping cherub   mk168 211x167,mm
42280 Head of an angel  Head of an angel   mk168 270x208mm
63640 Head of an Angel  Head of an Angel   1506 Brush drawing on blue Venetian paper, 270 x 208 mm Graphische Sammlung Albertina, Vienna There are a total of 22 preliminary studies, every one of which can be considered an autonomous work of art, in which D?rer prepared the Feast of the Rose Garlands (National Gallery, Prague). The head of the lute-playing angel by the Madonna's feet is a masterpiece of drawing. The technique of the brush drawing with white highlights on blue paper was one D?rer became acquainted with in Venice. The interplay of white and dark parallel and cross-hatchings which gently follow the curves of the face create the plastic effect of the light and dark shades.Artist:D?RER, Albrecht Title: Head of an Angel Painted in 1501-1550 , German - - graphics : study
63676 Head of an Apostle Looking Downward  Head of an Apostle Looking Downward   1508 Brush drawing with white highlights on a dark ground, 316 x 229 mm Graphische Sammlung Albertina, Vienna Study for the Heller Altar. This was a type that long interested D?rer and is still discernible in the head of St Paul in the Munich paintings of Apostles. All the forms contribute with unusual power to the unified expression.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Downward Painted in 1501-1550 , German - - graphics : study
63681 Head of an Apostle Looking Upward  Head of an Apostle Looking Upward   1508 Brush drawing with white highlights on a dark ground, 288 x 207 mm Staatliche Museen, Berlin Study for the Heller Altar. The modern mistrust of any calligraphy in drawing should not be allowed to blind the viewer to the new psychological greatness that such figures introduce into German art.Artist:D?RER, Albrecht Title: Head of an Apostle Looking Upward Painted in 1501-1550 , German - - graphics : study
63598 Head of St Mark  Head of St Mark   1526 Chalk with white highlights, 373 x 265 mm Staatliche Museen, Berlin This is a study for the Apostle in the great Munich painting. In its expression of spiritual excitement the head in this drawing is decidedly superior to the one in the painting. Tossing briskly, the locks of hair continue the theme of movement. At the same time, the natural appearance of the hair seems to have been oddly neglected in the rendering ("pretzel locks"). Drawings of this type, in very large format and only superficially finished, do not occur in the earlier period.Artist:D?RER, Albrecht Title: Head of St Mark Painted in 1501-1550 , German - - graphics : study
42505 Head of St.Peter  Head of St.Peter   mk168 1526 354x288mm
42474 Head of the Apostle james  Head of the Apostle james   mk168 46x38cm Oil on canvas
42473 Head of the Apostle Philip  Head of the Apostle Philip   mk168 Oil on canvas 46x38cm
63653 Head of the Twelve Year Old Christ  Head of the Twelve Year Old Christ   1506 Brush drawing on blue Venetian paper, 275 x 211 mm Graphische Sammlung Albertina, Vienna The head study of the twelve year-old Jesus was originally drawn on the same sheet, later separated, as the preliminary drawing of the lute-playing angel in the Feast of the Rose Garlands. This is confirmed by the fact that the two pictures were created at the same time. In contrast to the preliminary drawing for the Feast of the Rose Garlands, D?rer kept more rigidly to his preliminary study in the painting of Christ among the Doctors, diverging only in details such as the reproduction of the hair.Artist:D?RER, Albrecht Title: Head of the Twelve Year Old Christ Painted in 1501-1550 , German - - graphics : study
78807 Heiliger Onophrius  Heiliger Onophrius   ca. 1504(1504) Oil on panel 20 x 58 cm (7.9 x 22.8 in) cjr
81888 Heiliger Onophrius  Heiliger Onophrius   . 1504(1504) Medium Oil on panel Dimensions 20 x 58 cm (7.9 x 22.8 in) cyf
52029 Heller Altar  Heller Altar   1508-09 Tempera and oil on wood, 189 x 138 cm
63752 Heller Altar  Heller Altar   1508-09 Tempera and oil on wood, 189 x 138 cm (central element) Historisches Museum, Frankfurt In the center-ground of the landscape, D?rer stands as usual with the explicative tablet and his gaze fixed straight ahead. Inscription on the table before the self-portrait: ALBERTVS DVRER ALEMANVS FACIEBAT POST VIRGINIS PARTVM 1509. The background presses into the far distance, toward a lake enclosed by hills, peppered with buildings.Artist:D?RER, Albrecht Title: Heller Altar (detail) Painted in 1501-1550 , German - - painting : religious
42351 Hercules at the Crossroads  Hercules at the Crossroads   mk168 323x223mm
42318 Hercules Killing the Molionides  Hercules Killing the Molionides   mk168 395x285mm
42352 Hercules Kills the Stymphalic Birds  Hercules Kills the Stymphalic Birds   mk168 85x110cm
42418 Hieronymus Holzschuher  Hieronymus Holzschuher   mk168 48x36cm Oil on linden wood
25870 Hieronymus Holzschuher (mk45)  Hieronymus Holzschuher (mk45)   1526 Oil on panel. 48x26cm Berlin,Staatliche Museen zu Beelin-Prubischer Kulturbesitz,Gemaldegalerie
79166 Hiob von seiner Frau verhohnt  Hiob von seiner Frau verhohnt   ca. 1500-1503 color on linden 96 x 51 cm (37.8 x 20.1 in) cjr
63585 Iris  Iris   1503 Brush, pen, ink, watercolour and body-colour, height: 77cm Kunsthalle, Bremen The flower (Iris trojana, formerly Iris germanica) was konown in the 15th century only in Venice. D?rer was probably inspired by the sketchbook of Jacopo Bellini during his fist stay in Venice.Artist:D?RER, Albrecht Title: Iris Painted in 1501-1550 , German - - graphics : other
82271 Jabach Altar linker Flugel auben  Jabach Altar linker Flugel auben   . 1500-1503 Medium color on linden Dimensions 96 x 51 cm (37.8 x 20.1 in) cyf
83200 Jabacher Altar  Jabacher Altar   c. 1500-1503 Medium Deutsch: Lindenholz Dimensions 97 x 55 cm (38.2 x 21.7 in) cyf
42402 Jako Fugger The Rich  Jako Fugger The Rich   mk168 Oil on canvas 69.4x53cm 1500
52027 Jakob Fugger  Jakob Fugger   the Wealthy 1518-20 Tempera on canvas, 69,4 x 53 cm
42419 Jakob Muffel  Jakob Muffel   mk168 48x36cm Oil on wood transferred to canves
42260 Jean Charlier de gerson as a pligrim  Jean Charlier de gerson as a pligrim   mk168 223x149mm
70845 Jesusknabe mit Weltkugel  Jesusknabe mit Weltkugel   Medium Deutsch: keine Angaben Dimensions Deutsch: 118 x 93 cm
42435 Joachim and the Angel  Joachim and the Angel   mk168 296x210mm Woodcut
52015 Job and His Wife  Job and His Wife   c. 1504 Oil on panel, 94 x 51 cm
42465 Job Castigated by his wife  Job Castigated by his wife   mk168 94x51cm
42342 Kinght,Death and Devil  Kinght,Death and Devil   mk168 244x189mm
78792 Knabenkopf nach links geneigt  Knabenkopf nach links geneigt   c. 1503 Oil on canvas 23,1 x 17,9 cm cjr
83397 Knabenkopf nach rechts geneigt  Knabenkopf nach rechts geneigt   Oil on canvas Dimensions Deutsch: 25,5 x 19,2 cm cyf
45883 Knight death and devil  Knight death and devil   mk178 1513 copper stings 24.6x18.9cm
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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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