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Albrecht Durer
The Painter Lucas Van Leyden
mk168
244x171mm
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Albrecht Durer
The Negress Katharina
mk168
200x140mm
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Albrecht Durer
Cardinal Albrecht of Bran-Denburg in portrait
mk168
174x120mm
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Albrecht Durer
Cardinal Albrecht of Bran-Denburg
mk168
1519
146x96mm
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Albrecht Durer
Cardinal Albrecht of Bran-Denburg
mk168
428x323mm
Chalk on paper
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Albrecht Durer
Ulrich Varnbuhler
mk168
437x326mm
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Albrecht Durer
Elector Frederick The Wise
mk168
192x127mm
1524
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Albrecht Durer
Frederick II
mk168
164x117mm
Silver-Point on prepared paper
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Albrecht Durer
Hieronymus Holzschuher
mk168
48x36cm
Oil on linden wood
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Albrecht Durer
Jakob Muffel
mk168
48x36cm
Oil on wood transferred to canves
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Albrecht Durer
The Vision of the Seven Candleticks
mk168
395x284mm
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Albrecht Durer
Melencolia I
mk168
240x186mm
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Albrecht Durer
The Four horsemen of the Apocalypse
mk168
394x281mm
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Albrecht Durer
St.John Devouring the book
mk168
391x284mm
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Albrecht Durer
St.Michael Battling the Dragon
mk168
394x283mm
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Albrecht Durer
The Angel with the key to the Bottomless Pit
mk168
393x283mm
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Albrecht Durer
The Babylonian Whore
mk168
392x282mm
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Albrecht Durer
The Apocalyptic woman and the seven-Headed Dragon
mk168
392x279mm
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Albrecht Durer
Agony in the Garden
mk168
Woodcut
389x282mm
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Albrecht Durer
The last supper
mk168
1510
on the frame of the table
woodcut
395x284mm
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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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