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Albrecht Durer
The Courtyard of the Former Castle in innsbruck
mk168
368x270mm
Watercolor on paper
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Albrecht Durer
The Courtyard of the Former Castle in Innsbruck
mk168
Watercolor on paper
335x267mm
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Albrecht Durer
Exit from a Quarry
mk168
Pen and ink on paper
325x218mm
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Albrecht Durer
Valley near Kalchreuth
mk168
106x316mm
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Albrecht Durer
Nuremberg Seen From the south
mk168
163x344mm
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Albrecht Durer
The Penance of St.John Chrysostom
mk168
181x117mm
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Albrecht Durer
A Tree in a Quarry
mk168
296x219mm
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Albrecht Durer
A Mountain hut in Disrepair
mk168
Pen and ink with watercolor on paper
372x262mm
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Albrecht Durer
The Castle at Trent
mk168
Pen and ink with watercolor on paper
196x250mm
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Albrecht Durer
Trent Seen From the North
mk168
198x257mm
Watercolor and body color on paper
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Albrecht Durer
Nemesis
mk168
325x232mm
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Albrecht Durer
A Pond in the woods
mk168
262x365mm
Watercolor and body Color on paper
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Albrecht Durer
The Penance of St.Jerome
mk168
Oil on pear wood
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Albrecht Durer
The Great Cannon
mk168
227x330mm
1518
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Albrecht Durer
Bearded Man in a Red cap
mk168
40x30cn
1520
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Albrecht Durer
Albrech Durer the Elder with Rosary
mk168
47.5x39.5cm
Oil on wood
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Albrecht Durer
Lamentation for Christ
mk168
151x121cm
Oil on coniferous wood
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Albrecht Durer
Lamentation for christ
mk168
150x120
Oil on spruce
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Albrecht Durer
Portrait of a woman
mk168
c.1490
Oil on coniferous wood
c.1490
47x36cm
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Albrecht Durer
Elector Frederick the Wise
mk168
76x57mm
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| Albrecht Durer
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b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
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