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Albrecht Durer
Self Portrait _8
1493
Musee du Louvre, Paris
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Albrecht Durer
Self Portrait with Gloves
1498
Museo del Prado, Madrid
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Albrecht Durer
Self Portrait in a Fur Coat
1500
Pinakothek, Munich
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Albrecht Durer
Lamentations Over the Dead Christ
1500-03
Pinakothek, Munich
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Albrecht Durer
Portrait of Oswalt Krel
1499
Pinakothek, Munich
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Albrecht Durer
Paumgartner Altarpiece
1498-1504
Pinakothek, Munich
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Albrecht Durer
Madonna and Child _1
1512
Art History Museum, Vienna
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Albrecht Durer
Adoration of the Trinity
1511
Art History Museum, Vienna
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Albrecht Durer
Martyrdom of the Ten Thousand
1508
Art History Museum, Vienna
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Albrecht Durer
Portrait of a Young Venetian Lady
1505
Art History Museum, Vienna
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Albrecht Durer
Christ Among the Doctors
1506
Foundation Thyssen Bornemisza, Madrid
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Albrecht Durer
Altarpiece of the Rose Garlands
1506
Narodni Galerie, Prague
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Albrecht Durer
Madonna and Child_y
1504-07
The National Gallery of Art, Washington DC
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Albrecht Durer
Portrait of the Artist's Father_e
1490
Galleria degli Uffizi, Florence
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Albrecht Durer
The Adoration of the Magi_z
1504-05
Galleria degli Uffizi, Florence
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Albrecht Durer
Portrait of Elsbeth Tucher
1499
Staatliche Kunstsammlungen, Kassel
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Albrecht Durer
The Painter's Father_l
1497
The National Gallery, London
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Albrecht Durer
Virgin Child before an Archway
Fondazione Magnani-Rocca, Parma
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Albrecht Durer
St.Jerome in the Wilderness
1494
Fitzwilliam Museum, Cambridge
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Albrecht Durer
Christ as the Man of Sorrows
1493
Staatliche Kunsthalle, Karlsruhe
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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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