Albrecht Dürer's House in Nuremberg

Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith.

Altdorfer's figures are invariably the complement of his romantic landscapes ; for them he borrowed Albrecht Dürer's inventive iconography, but the panoramic setting is personal and has nothing to do with the fantasy landscapes of the Netherlands A Susanna in the Bath and the Stoning of the Elders ( 1526 ) set outside an Italianate skyscraper of a palace shows his interest in architecture.

Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg ( left ) with her counterpart from Venice.

16th century claw hammer from Albrecht Dürer | Dürer's " Melencolia I " ( 1514 )

A prominent instance of a baby satyr outside ancient Greece is Albrecht Dürer's 1505 engraving, " Musical Satyr and Nymph with Baby ( Satyr's Family )".

Albrecht Dürer's 1513 Veronica ( as he called it in his diary ); its heraldic presentation with matched angelic supporters emphasizes the startling realism of the image.

In the 16th century, imitators of Albrecht Dürer's style of printmaking improved the market for their own prints by signing them " AD ", making them forgeries.

The Passion is often covered by a cycle of depictions ; Albrecht Dürer's print cycles were so popular that he produced three different versions.

But the term proof can be used in the case of a clear working proof of an old master print, like the two impressions of Albrecht Dürer's Adam and Eve ( 1504, British Museum and Albertina, Vienna ) which show the figures largely finished but the background with only the main outlines lightly done.

The book ( whose early draft, quite different from the final form, circulated in manuscript long before it was published ) is often cited in discussions of Albrecht Dürer's famous engraving Melencolia I ( 1514 ).

It was, until recently, preserved in the German National Museum, on the same floor as Albrecht Dürer's gallery ( owing to Nuremberg being the heart of the German Renaissance ).

Around 1510 he was asked to paint four saints in grisaille for the outside of the wings of Albrecht Dürer's Heller Altarpiece (: de ) in Frankfurt.

Also, a Patti Smith portrait from 1986 recalls Albrecht Dürer's 1500 self-portrait.

In his pack, Browning carried three teddy bears and a framed print of Albrecht Dürer's The Praying Hands.

He seems to have travelled a certain amount, and visits are recorded to Antwerp in 1521, the year of Albrecht Dürer's Netherlandish journey, and to Middelburg in 1527, when he met Jan Mabuse.

* Albrecht Dürer's book on geometry and perspective, The Painter's Manual ( more literally, the Instructions on Measurement ) is published at Nuremberg.

Albrecht Dürer's engraving of Fortuna, ca 1502

During the 16th century imitators of Albrecht Dürer's style of printmaking added signatures to them to increase the value of their prints.

The German artist Albrecht Dürer saw the sketches and descriptions and carved a woodcut of the rhino, known ever after as Dürer's Rhinoceros.

* Albrecht Dürer's fechtbuch HS.

The painting is dense in symbolism and is indebted to, if not actually satirical of Albrecht Dürer's frontispiece of Sebastian Brant's book of the same name.

Van Mander states that Albrecht Dürer said of Geertgen " Truly he was a painter in his mother's womb ", although Dürer's journal of his Netherlandish travels doesn't mention the painter, and it has been suggested that Van Mander was using a form of epideictic rhetoric to build esteem for a fellow Haarlemer.

Albrecht Dürer's father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484 self-portrait at age 13 is still considered a masterpiece.

St. Christopher, engraving, 1521, by Albrecht Dürer

* Albrecht Dürer also produced portraits of Erasmus, whom he met three times, in the form of an engraving of 1526 and a preliminary charcoal sketch.

A famous allegorical engraving by Albrecht Dürer is entitled Melencolia I.

* Albrecht Dürer makes his famous engraving Melencolia I.

" Melencolia I ", engraving by Albrecht Dürer, one of the most important printmakers.

Among the most famous artists of the old master print: Albrecht Dürer produced 3 drypoints before abandoning the technique ; Rembrandt used it frequently, but usually in conjunction with etching and engraving.

Among the most famous artists of the old master print Albrecht Dürer produced 3 drypoints before abandoning the technique ; Rembrandt used it frequently, but usually in conjunction with etching and engraving.

Image: Dürer_-_Der_hl_Eustachius. jpg | Saint Eustachius, an engraving by Albrecht Dürer, ca.

Albrecht Dürer made a famous engraving of the Prodigal Son amongst the pigs ( 1496 ), a popular subject in the Northern Renaissance.

He also put forward an original excellent interpretation of the engraving Melencolia I of Albrecht Dürer.

: Image: Geertgen lamentation copy Jacob Matham 1620. JPG | Mirror image engraving in 1620 by Jacob Matham, includes a latin poem by Joan Albert Ban, a dedication to Jacob van Campen, and latin quote by Albrecht Dürer, three men inspired by this painting.

An engraving by Albrecht Dürer featuring Mashallah ibn Athari | Mashallah, from the title page of the De scientia motus orbis ( Latin version with engraving, 1504 ).

Philip Melanchthon, engraving by Albrecht Dürer, 1526

An engraving by Albrecht Dürer, from the title page of the De scientia motus orbis ( Latin version with engraving, 1504 ).

Albrecht Dürer, Veronica, engraving, 1513.

Master ES and Martin Schongauer in engraving and Erhard Reuwich and Michael Wolgemut in woodcut were pioneers of both techniques, and Albrecht Dürer in particular perfected the technique of crosshatching in both media.

Albrecht Dürer reversed the Apollos pose for his Adam in a 1504 engraving of Adam and Eve, suggesting that he saw it in Rome.

* Dürer, Albrecht, Adam and Eve ( 1504 engraving )