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Dürer and with
Dürer may well have worked on some of these, as the work on the project began while he was with Wolgemut.
In early 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg.
Other paintings Dürer produced in Venice include The Virgin and Child with the Goldfinch, Christ Disputing with the Doctors ( supposedly produced in a mere five days ), and a number of smaller works.
Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve ( 1507 ), The Martyrdom of the Ten Thousand ( 1508, for Frederick of Saxony ), Virgin with the Iris ( 1508 ), the altarpiece Assumption of the Virgin ( 1509, for Jacob Heller of Frankfurt ), and Adoration of the Trinity ( 1511, for Matthaeus Landauer ).
The design program and explanations were devised by Johannes Stabius, the architectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by Hieronymous Andreae, with Dürer as designer-in-chief.
Dürer worked with pen on the marginal images for an edition of the Emperor's printed Prayer-Book ; these were quite unknown until facsimiles were published in 1808 as part of the first book published in lithography.
Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much.
On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a Sacra Conversazione, though neither was completed.
Dürer wrote of his desire to draw Luther in his diary in 1520: " And God help me that I may go to Dr. Martin Luther ; thus I intend to make a portrait of him with great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties.
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.
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.
Thus Dürer contributed to the expansion in German prose which Martin Luther had begun with his translation of the Bible.
It was in Bologna that Dürer was taught ( possibly by Luca Pacioli or Bramante ) the principles of linear perspective, and evidently became familiar with the ' costruzione legittima ' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca.
Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles.
In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors ; here Dürer also deals with human physiognomy.
File: Albrecht Dürer-Ritratto del padre-Google Art Project. jpg | Albrecht Dürer the Elder with a Rosary, 1490, Galleria degli Uffizi, Florence
File: Albrecht Dürer 058. jpg | Mary with the squatting child, 1516, oil on panel, Metropolitan Museum of Art
Nevertheless, Erasmus and Dürer maintained a close friendship, with Dürer going so far as to solicit Erasmus's support for the Lutheran cause, which Erasmus politely declined.
Among the most famous artists of the old master print: Albrecht Dürer produced 3 drypoints before abandoning the technique ; Rembrandt used it frequently, but usually in conjunction with etching and engraving.
Von Kulmbach then apprenticed with Albrecht Dürer and after Dürer retired from painting altarpieces in 1510 Kulmbach took over most of his commissions.

Dürer and Cologne
There are no paintings signed by Lochner, but Albrecht Dürer recorded seeing an altarpiece by " Maister Steffan " on a visit to Cologne in 1520.

Dürer and Antwerp
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.
During the 1840s, Leys began painting scenes set in 16th-century Antwerp, combining details studied from life with a deliberately archaizing style reminiscent of 16th-century German painters like Albrecht Dürer and Quinten Matsys.
He met Albrecht Dürer in Antwerp in 1520, and a Dürer portrait drawing at the National Gallery, London, is conjectured to be of Provoost.

Dürer and where
It is unclear where Dürer travelled in the intervening period, though it is likely that he went to Frankfurt and the Netherlands.
In 1493 Dürer went to Strasbourg, where he would have experienced the sculpture of Nikolaus Gerhaert.
In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles.
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.
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.
He is buried in Johannis-Friedhof Cemetery in Nuremberg, which is also where the artist Albrecht Dürer is interred.
Around the same time, Albrecht Dürer made his two trips to Italy, where he was greatly admired for his prints.
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.

Dürer and was
Albrecht Dürer (; 21 May 1471 – 6 April 1528 ) was a German painter, printmaker, engraver, mathematician, and theorist from Nuremberg.
Dürer was born on 21 May 1471, third child and second son of his parents, who had between fourteen and eighteen children.
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.
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.
In Colmar, Dürer was welcomed by Schongauer's brothers, the goldsmiths Caspar and Paul and the painter Ludwig.
Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, Dürer was married to Agnes Frey following an arrangement made during his absence.
On his return to Nuremberg in 1495, Dürer opened his own workshop ( being married was a requirement for this ).
The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Dürer and his assistants c. 1500.
De ' Barbari was unwilling to explain everything he knew, so Dürer began his own studies, which would become a lifelong preoccupation.
Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520.
The Arch was followed by " The Triumphal Procession ", the program of which was worked out in 1512 by Marx Treitz-Saurwein and includes woodcuts by Albrecht Altdorfer and Hans Springinklee, as well as Dürer.
Maximilian's sudden death came at a time when Dürer was concerned he was losing " my sight and freedom of hand " ( perhaps caused by arthritis ) and increasingly affected by the writings of Martin Luther.
In July 1520 Dürer made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secure the patronage of the new emperor, Charles V, who was to be crowned at Aachen.
Dürer wrote that this treasure " was much more beautiful to me than miracles.
However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist.
This last great work, the Four Apostles, was given by Dürer to the City of Nuremberg — although he was given 100 guilders in return.
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.

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