The suicide of Lucretia has been an enduring subject for visual artists, including Titian, Rembrandt, Dürer, Raphael, Botticelli, Jörg Breu the Elder, Johannes Moreelse, Artemisia Gentileschi, Damià Campeny, Eduardo Rosales, Lucas Cranach the Elder and others.

The perspective in his paintings has influenced famous painters such as Piero della Francesca, Albrecht Dürer and Leonardo da Vinci, to name a few.

At the end of the century Albrecht Dürer brought the Western woodcut to a level that, arguably, has never been surpassed, and greatly increased the status of the single-leaf woodcut ( i. e. an image sold separately ).

The Romano-Gothic cathedral, where lie the remains of Jörg Jenatsch, was begun by Bishop Tello ( 758-73 ), and has a highly interesting crypt ; it contains some remarkable paintings by Dürer and Holbein.

With regard to the 16th century, the Prado has four works by Dürer: a Self-portrait, Adam and Eve, and Portrait of an Unknown Man, all of which came to the Alcázar in Madrid during the reign of Philip IV.

Among prints by non-Spanish artists, the Museum has four by Dürer: Hercules at the Crossroads, The Penance of Saint John Chrysostom, The Four Angels holding back the Winds, and Saint Michael defeating the Dragon, the last two from the Apocalypse series.

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.

Führich has been fairly described as a Nazarene, a romantic religious artist whose pencil did more than any other to restore the old spirit of Dürer and give new shape to countless incidents of the gospel and scriptural legends.

Schmüll ( born 8 June 1946 ) is a Dutch engraver, known professionally by his first name Bertil, who has been compared in a modern sense in form and style to Albrecht Dürer.

From the close resemblance of his style to that of Albrecht Dürer he has also sometimes been called the " Albert of Westphalia ".

Kaulbach tried hard to become Grecian and Italian ; but he never reached Phidias or Raphael ; in short the blood of Dürer, Holbein and Martin Schöngauer ran strong in his veins.

Another very concrete example describes an aesthetically pleasing human face whose proportions can be described by very few bits of information, drawing inspiration from less detailed 15th century proportion studies by Leonardo da Vinci and Albrecht Dürer.

Albrecht Dürer (; 21 May 1471 – 6 April 1528 ) was a German painter, printmaker, engraver, mathematician, and theorist from Nuremberg.

His father, Albrecht Dürer the Elder, was a successful goldsmith, originally named Ajtósi, who in 1455 had moved to Nuremberg from Ajtós, near Gyula in Hungary.

The German name " Dürer " is derived from the Hungarian, " Ajtósi ".

After a few years of school, Dürer started to learn the basics of goldsmithing and drawing from his father.

After completing his term of apprenticeship, Dürer followed the common German custom of taking Wanderjahre — in effect gap year — in which the apprentice learned skills from artists in other areas ; Dürer was to spend about four years away.

The Venetian artist Jacopo de ' Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective, anatomy, and proportion from him.

Dürer also appears to have been collecting for his own cabinet of curiosities, and he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins, and a wooden weapon from the East Indies.

Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images.

Notably, Dürer had contacts with various reformers, such as Zwingli, Andreas Karlstadt, Melanchthon, Erasmus and Cornelius Grapheus from whom Dürer received Luther's ' Babylonian Captivity ' in 1520.

In addition to these geometrical constructions, Dürer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective.

The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio's ' De harmonica mundi totius ' of 1525.

File: Selbstporträt, by Albrecht Dürer, from Prado in Google Earth. jpg | Self-portrait, 1498, Museo del Prado, oil on wood panel

* Dürer, Albrecht ( translated by R. T. Nichol from the Latin text ), Of the Just Shaping of Letters, Dover Publications.

" His models were niellos and copper engravings from the workshops of Jacopo de Barbari and Albrecht Dürer.

At that time, Sloane's collection consisted of around 71, 000 objects of all kinds including some 40, 000 printed books, 7, 000 manuscripts, extensive natural history specimens including 337 volumes of dried plants, prints and drawings including those by Albrecht Dürer and antiquities from Egypt, Greece, Rome, the Ancient Near and Far East and the Americas.

Around the transition from the 15th to the 16th century, Albrecht Dürer from Nuremberg established his reputation across Europe as painter, printmaker, mathematician, engraver, and theorist when he was still in his twenties and secured his reputation as one of the most important figures of the Northern Renaissance.

Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code.

Michelangelo's two Slaves were among the rich appointments of the château Richelieu, where there were the Nativity triptych by Dürer and paintings by Mantegna, Lorenzo Costa and Perugino, lifted from the Gonzaga collection at Mantua by French military forces in 1630, as well as numerous antiquities.

Nonetheless, among its holdings, which mostly come from the former royal collection, there are various key works by Albrecht Dürer, the most important German artist of this period.

At the time of the fire there was also an exhibition with works of painters like Ruysdael, Dürer, Seghers and Kiefer, which were all lost, with damages estimated at about three million euros ( US $ 4, 000, 000 ).

It was there that Sloan created his earliest surviving works, among which are pen and ink copies after Dürer and Rembrandt.

Dürer, in turn, was influenced by the art he saw there.

Dürer may well have worked on some of these, as the work on the project began while he was with Wolgemut.

In 1493 Dürer went to Strasbourg, where he would have experienced the sculpture of Nikolaus Gerhaert.

It is now thought unlikely that Dürer cut any of the woodblocks himself ; this task would have been performed by a specialist craftsman.

" In a letter to Nicholas Kratzer in 1524, Dürer wrote " because of our Christian faith we have to stand in scorn and danger, for we are reviled and called heretics.

" Dürer may even have contributed to the Nuremberg City Council's mandating Lutheran sermons and services in March 1525.

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.

** Without a mirror, the great self-portraits by Dürer, Frida Kahlo, Rembrandt, and Van Gogh could not have been painted.

He most likely met Holbein more than once on his way to England, and Dürer is believed to have visited his house at Antwerp in 1520.

Many wood-cuts of the first edition are believed to have been carved by Dürer.

Dürer was in Bologna in 1506, as was Michelangelo, and he may have met one or both of them.

Albrecht Dürer was an apprentice with Wolgemut from 1486 to 1489, so may well have participated in designing some of the illustrations for the specialist craftsmen ( called " formschneider " s ) who cut the blocks, onto which the design had been drawn, or a drawing glued.

The earliest of his works that have come down to us are dated 1625 and 1626 ; they are small plates, and one of them is a copy of a " Virgin and Child " by Dürer, whose influence upon Hollar's work was always great.

He is known to have been active, and already well-established, in Augsburg from c. 1516, where he was working, and signing the reverse of blocks, under Jost de Negker, the other great blockcutter of the period, on the print projects for Maximilian I, Holy Roman Emperor involving Albrecht Dürer, Hans Burgkmair and other artists.

The oldest depiction of such a private crown is an etching by the artist Albrecht Dürer of Emperor Maximilian I, where a depiction of a crown is seen that might have later influenced the appearance of the crown of Rudolf II.

In the mid-1560s he began to draw in a simplified, geometric style that may have been inspired by similar works by Albrecht Dürer and other German artists.