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.

He left in 1490, possibly to work under Martin Schongauer, the leading engraver of Northern Europe, but who died shortly before Dürer's arrival at Colmar in 1492.

Albrecht Dürer's engraving of Fortuna, ca 1502

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.

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.

Dürer's godfather was Anton Koberger, who left goldsmithing to become a printer and publisher in the year of Dürer's birth.

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.

A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of Adam and Eve ( 1504 ), which shows his subtlety while using the burin in the texturing of flesh surfaces.

By this time Dürer's engravings had attained great popularity and were being copied.

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.

From 1512, Maximilian I became Dürer's major patron.

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.

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

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

As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise.

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.

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.

Dürer's later works have also been claimed to show Protestant sympathies.

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.

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

His work in engraving seems to have had an intimidating effect upon his German successors, the " Little Masters " who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions.

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.

Dürer's geometric constructions include helices, conchoids and epicycloids.

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

Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that " one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year.

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

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