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Albrecht Durer
Christ on the Cross
mk168
220x133mm
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Albrecht Durer
Jean Charlier de gerson as a pligrim
mk168
223x149mm
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Albrecht Durer
Madonna with musical Angels
mk168
Pen and ink on paper with touches of watercolor
216x151mm
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Albrecht Durer
Christ as Man of Sorrows
mk168
oil on fir
30x19cm
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Albrecht Durer
View of Heroldsberg
mk168
Pen and ink on paper
211x263mm
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Albrecht Durer
An orinetal Ruler Enthroned with traces of the artist-s monogram
mk168
Pen and ink on paper
306x197mm
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Albrecht Durer
Three Orientals
mk168
Pen and ink on paper,and watercolor
300x208mm
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Albrecht Durer
The Virgin before an archway
mk168
Oil on wood
48x36cm
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Albrecht Durer
Burkard of Speyer
mk168
Oil on wood
32x27cm
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Albrecht Durer
A Young lady of Venice
mk168
Oil on elmwood
32x25cm
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Albrecht Durer
A Venetian lady
mk168
28x21cm
Oil on poplar wood
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Albrecht Durer
Head of an angel
mk168
270x208mm
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Albrecht Durer
THe Head of christ at age twelve
mk168
275x211mm
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Albrecht Durer
St.Dominic
mk168
416x288mm
Vienna
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Albrecht Durer
An architect
mk168
386x263mm
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Albrecht Durer
Albrecht Durer and an unknown companion
mk168
cf.139.
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Albrecht Durer
The Feast of the rose Garlands the virgen,the Infant Christ and St.Dominic distribut rose garlands
mk168
162x194cm
Oil on poplar wood
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Albrecht Durer
The Mantle of the pope
mk168
1514
Watercolor on paper
427x288mm
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Albrecht Durer
The Manile of the Pope
mk168
1514
Watercolor on paper
427x288mm
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Albrecht Durer
Head of a Weeping cherub
mk168
211x167,mm
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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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