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Albrecht Durer
The AllSaints altarpiece
mk150
1511
135x126.3cm
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Albrecht Durer
Martyrdom of the 10000 Christians
mk150
99x87cm
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Albrecht Durer
Portrait of Fohann Kleberger
mk150
1526
37x36.6cm
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Albrecht Durer
The All Saints altarpiece
mk150
1511
135x126.3cm
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Albrecht Durer
Portrait of a young Ventian Lady
mk150
1505
32.5x24.5cm
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Albrecht Durer
Madonna with the pear
mk150
1512
49x37cm
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Albrecht Durer
Emperor Maximilian
mk150
1519
74x61.5cm
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Albrecht Durer
Self-protrait in a Fur-Collared Robe
mk156
1500
Oil on limewood panel
67.1x48.9cm
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Albrecht Durer
Paumgatner Altar
mk156
1502-04
Oil on lime panel
155x126cm
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Albrecht Durer
Adoration of the Magi
mk156
1504
Oil on panel
98x112cm
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Albrecht Durer
Adam and Eve
mk156
1507
Oil on panel
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Albrecht Durer
The Four Holy Men
mk156
1526
Oil on linderwood panels
215x76cm
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Albrecht Durer
The Virgin and child with St.Anne
mk161
Tempera and oil on canvas
transferred from wood
23x19
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Albrecht Durer
Self-portrait as a Boy
mk168
275x196cm
Vienna
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Albrecht Durer
Self-Portrait of Durer-s Father
mk168
284x212mm
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Albrecht Durer
Endres Durer
mk168
1484-1555
entered the Nuremberg gold-smiths-guild as a master in 1514
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Albrecht Durer
Durer-s Mother Barbara,Nee Holper
mk168
on top
in the center,the year 1514
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Albrecht Durer
Six Pillows
mk167
Pen and ink on paper
276x202mm
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Albrecht Durer
Self-Portrait
mk167
276x202mm
New York
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Albrecht Durer
Albrecht Durer the Elder
mk168
Oil on limewood
51x40cm
London
National Gallery
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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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