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.

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.

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.

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 ).

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.

* Connecticut College collection of Dürer's work, organized by topic

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.

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.

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

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.

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.

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.

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 ).

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.

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.

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.

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

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.

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.

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.

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.

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.

* Innovated Life Art Gallery: Dürer's suite for Apocalipsis cum Figuris.

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.

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.

Dürer's Underweysung der Messung ( Instruction in Measurement ) contains specific geometric methods for producing limaçons.

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.

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.

However Dürer's woodcuts had raised the standard of the medium considerably, and since Marcantonio continued to copy a large number of both Dürer's engravings and woodcuts, he must have found it profitable.

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

*" Dürer's Melancholia ": sonnet by Edward Dowden

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