Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of ' selective inward synthesis '.

When analysing the work of the artist as a whole, Ronald Paulson says, " In A Harlot's Progress, every single plate but one is based on Dürer's images of the story of the Virgin and the story of the Passion.

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

However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn traveled over the Alps to dominate Northern engraving also.

In his later trip to the Netherlands in 1521 Dürer's diary shows that he took with him and sold prints by Baldung.

At his death the collection was inherited by his nephew, who was pressured by Rudolf II, the very acquisitive Austrian Habsburg Emperor, to sell the finest pieces to him, which in 1597 he very reluctantly did, protesting that the price offered for thirty-three works was not enough even for six, and less than he had recently refused from Cardinal Farnese for Dürer's Martyrdom of the Ten Thousand alone.

His early copies included Dürer's famous AD monogram, and Dürer made a complaint to the Venetian Government, which won him some legal protection for his monogram, but not his compositions, in Venetian territory-an important case in the slowly evolving history of intellectual property law.

Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance.

While providing valuable documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one.

Dürer's work was destroyed by fire and survives only in copies, but fortunately the wings have survived, one pair of saints being displayed in Frankfurt's Municipal Art Gallery and the other in Karlsruhe's, Staatliche Kunsthalle.

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.

Dürer's writings suggest that he may have been sympathetic to Martin Luther's ideas, though it is unclear if he ever left the Catholic Church.

The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of Saints ; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion.

An allegorical painting by Hieronymus Bosch, The Ship of Fools ( painting ), a fragment of a triptych said to be painted by Bosch between 1490 and 1500, may have been influenced by Dürer's frontispiece for the book.

In late medieval depictions, the Doctors, often now carrying or consulting large volumes, may be given specifically Jewish features or dress, and are sometimes overtly anti-Semitic caricatures, like some of the figures in Albrecht Dürer's version in the Thyssen-Bornemisza Museum in Madrid.

Dürer's work on geometry is called the Four Books on Measurement ( Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler ).

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.

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.

***** Rhinoceros, from: en: Dürer's Rhinoceros | Dürer's woodcutRhinoceroses are odd-toed ungulates with horns made of keratin, the same type of protein composing hair.

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.

These include The Descent from the Cross by Rogier van der Weyden, The Garden of Earthly Delights by Hieronymous Bosch, Knight with his Hand on his Breast by El Greco, The Death of the Virgin by Mantegna, The Holy Family, known as " La Perla ", by Raphael, Charles V at Mülhberg by Titian, Christ Washing the Disciples ’ Feet by Tintoretto, Dürer's Self-portrait, Las Meninas by Velázquez, The Three Graces by Rubens, and The Family of Charles IV by Goya.

The visionary character of his work, with its expressive colour and line, is in stark contrast to Dürer's works.

The obvious resemblance with Dürer's Rhinoceros is quite clear.

Dürer's finished works seem generally to use invented landscapes, although the spectacular bird's-eye view in his engraving Nemesis shows an actual view in the Alps, with additional elements.

Analyzing Albrecht Dürer's famous 1515 woodcut, it is possible that the liberties taken with the rhino's design were in fact designs for a suit of armour created for the rhinoceros's fight against an elephant in Portugal.

The most important works include Maso di Banco's Coronation of the Virgin, Sassetta's Saint Thomas Aquinas at Prayer, Domenico Ghirlandaio's Saint Stephen Martyr, Gentile Bellini's Portrait of Caterina Cornaro, Giorgione's Portrait of a Young Man, Raphael's Esterhazy Madonna, Correggio's Madonna and Child with an Angel, three works by Sebastiano del Piombo, Bronzino's Adoration of the Shepherds as well as his Venus, Cupid and Jealousy, Titian's Portrait of Doge Marcantonio Trevisani, Tintoretto's Supper at Emmaus, Tiepolo's St James the Greater in the Battle of Clavijo, Dürer's Portrait of a Young Man, Bernard van Orley's Portrait of Emperor Charles V, eight pictures by Lucas Cranach the Elder, Pieter Bruegel the Elder's St John the Baptist Preaching, Rubens's Mucius Scaevola Before Porsenna, two excellent portraits by Frans Hals, and a particularly strong collection of works by Spanish masters including El Greco, Velázquez and Goya.

Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including Lucas Cranach the Elder and Hans Baldung.

This detail from Salvator Mundi, an unfinished oil painting on wood, reveals Dürer's highly detailed preparatory drawing.

Dürer's Rhinoceros, Drawing | Ink drawing on paper, 1515.

Dürer's work on human proportions is called the Four Books on Human Proportion ( Vier Bücher von Menschlicher Proportion ) of 1528.

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 ).

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

Norfolk based his second novel, The Pope's Rhinoceros, on the story of an actual animal ; see Dürer's Rhinoceros.

* Dürer's Rhinoceros cut.

Like other printmakers such as Giulio Campagnola, he borrowed elements of Dürer's landscapes in a cut and paste fashion, and also borrowed from his technique.

Dürer's first painted self-portrait ( now in the Louvre ) was painted at this time, probably to be sent back to his fiancée in Nuremberg.

The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.

For those of the Cardinal, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile, perhaps reflecting a more mathematical approach.

Following the huge international success of Dürer's prints, other German artists, much more than Italian ones, devoted their talents to woodcuts and engravings.