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Albrecht Durer
Model for the Portraits of the Emperors
mk168
Pen and ink on paper,with watercolor
London
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Albrecht Durer
Design for the Great triuphal Chariot of Emperor Maximilian i
mk168
Pen and ink on paper iwth waterclor
1518
460x2530mm
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Albrecht Durer
Emperor Maximilian i
mk168
381x319mm
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Albrecht Durer
Erasmus of Rotterdam
mk168
249x193mm
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Albrecht Durer
Provost Lorenz Tucher at the Prayer Bench
mk168
1485
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Albrecht Durer
Levinus Memminger Michael Wolgemut
mk168
335x230mm
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Albrecht Durer
Christ on the Cross between the Virgin and St.John
mk168
Pen and ink on paper
310x227mm
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Albrecht Durer
The Virgin on a grassy bench
mk168
engraving
122x84mm
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Albrecht Durer
One of the Foolish Virgins
mk168
120x84mm
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Albrecht Durer
Youth kneeling beffore the judge
mk168
Pen and ink on paper
252x189mm
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Albrecht Durer
one of the wise virgins
mk168
292x203mm
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Albrecht Durer
The Holy Family in a landscape
mk168
143x115mm
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Albrecht Durer
The Holy Family in a landscape
mk168
pen and ink on paper
290x214mm
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Albrecht Durer
The Holy Family
mk168
pen and ink on paper
204x208mm
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Albrecht Durer
The holy family with the dragonfly
mk168
237x186mm
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Albrecht Durer
St.Jerome in his study
mk168
192x134mm
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Albrecht Durer
The Theater of Terence
mk168
93x147mm
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Albrecht Durer
The Crab fool
mk168
1494
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Albrecht Durer
The Barnyard fool
mk168
1494
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Albrecht Durer
The Crow Fool
mk168
1494
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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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