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Page "Albrecht Dürer" ¶ 35
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Dürer and wrote
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.
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.
" 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.
Springer wrote two biographies: Friedrich Christoph Dahlmann ( Leipzig, 1870-1872 ), and Albrecht Dürer ( Berlin, 1892 ); and was responsible for the German edition of Crowe and Cavalcaselle's Lives of the Early Flemish Painters, which was published at Leipzig in 1875.

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.
Dürer may well have worked on some of these, as the work on the project began while he was with Wolgemut.
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 journeyed with his wife and her maid via the Rhine to Cologne and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal.
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.
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.
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 and much
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.
Caravaggio, a Baroque artist, is generally credited with the invention of the style, although this technique was used much earlier by various artists, such as Albrecht Dürer.

Dürer and more
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.
The Renaissance humanist artist Albrecht Dürer memorialized Jerome's courage in electing to use a more perfect analogical type of Christ's am the Vine you are the branches " in his woodcut Saint Jerome in His Study.
While Dürer rigorously details his models, Baldung's style differs by focusing more on the personality of the represented character, an abstract conception of the model's state of mind.
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.
According to Wölfflin, painters of the fifteenth and early sixteenth centuries ( Leonardo da Vinci, Raphael or Albrecht Dürer ) are more linear than " painterly " Baroque painters of the seventeenth century ( Peter Paul Rubens, Rembrandt, and Velázquez ) because they primarily use outline to create shape.
According to Van Mander, Dirk Volkertsz Coornhert sent him a letter in which he claimed Albrecht Dürer felt that Floris had more thought for his art than for his own life.
The often-so-called conchoid of de Sluze and conchoid of Dürer do not fit this definition ; the former is a strict cissoid and the latter a construction more general yet.
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.
Woodcuts, some of them by Albrecht Dürer, and other references, show that more than just rapier use was taught by the Marxbrüder.
Thirdly, his integration of Italian styles with the German tradition he was trained in is perhaps more effective than that of any Northern painter since Dürer ( with the exception of his friend Rubens ).

Dürer and beautiful
However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images.

Dürer and than
In all his theoretical works, in order to communicate his theories in the German language, rather than Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language.
He borrowed many of the details from the works of his Dutch predecessor Freytag, of Albrecht Dürer, and of the German engineer Speckle, and in general he aimed rather at the adaptation of his principles to the requirements of individual sites than at producing a geometrically and theoretically perfect fortress.

Dürer and .
His engravings are scarce and valuable, and are chiefly copies of Mantegna, Albrecht Dürer, Parmigianino and Titian.
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 the Younger later changed " Türer ", his father's diction of the family's surname, to " Dürer ", to adapt to the local Nuremberg dialect.
Albrecht Dürer the Elder married Barbara Holper, the daughter of his master, when he himself became a master in 1467.
Because Dürer left autobiographical writings and became very famous by his mid-twenties, his life is well documented by several sources.
After a few years of school, Dürer started to learn the basics of goldsmithing and drawing from his father.
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 early 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg.
Within three months of his marriage, Dürer left for Italy, alone, perhaps stimulated by an outbreak of plague in Nuremberg.
Through Wolgemut's tutelage, Dürer had learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Martin Schongauer and the Housebook Master.
Dürer probably also visited Padua and Mantua on this trip.
It is now thought unlikely that Dürer cut any of the woodblocks himself ; this task would have been performed by a specialist craftsman.
Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block.

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