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.

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

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.

Major displays include Albrecht Dürer's Christ-like Self-Portrait, his The Four Apostles, Raphael's paintings The Canigiani Holy Family and Madonna Tempi as well as Peter Paul Rubens self-portrait Honeysuckle Bower and his two-storey-high Judgment Day.

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

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.

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

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.

On Dürer's death Baldung was sent a lock of his hair, which suggests a close friendship.

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.

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.

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.

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.

The publisher and printer was Anton Koberger, the godfather of Albrecht Dürer, who in the year of Dürer's birth in 1471 ceased goldsmithing to become a printer and publisher.

Two large and copiously illustrated books have woodcuts supplied by Wolgemut and his stepson Wilhelm Pleydenwurff ; both were printed and published by Germany's largest publisher, the Nuremberger Anton Koberger, who was also Dürer's godfather.

His father's house ( which survived until destroyed by Allied bombs in 1944 ) was a few metres from the church where Albrecht Dürer's Heller Altarpiece was then displayed.

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.

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.

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.

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

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.

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

About this time he began to make copies of Dürer's woodcut series, the Life of the Virgin.

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.

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.

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.

Albrecht Dürer's House in Nuremberg

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

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 father died in 1502, and his mother died in 1513.

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.

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

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

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.

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.

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