Albrecht Durer

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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Albrecht Durer Death of Orpheus oil


Death of Orpheus
Painting ID::  63659 		Death of Orpheus
1494 Pen drawing, 289 x 225 mm Kunsthalle, Hamburg This drawing is probably derived from a painting by Andrea Mantegna, whose printed graphics D?rer copied. Mantegna in his turn was using Greco-Roman models. This landscape, the details of the drapery folds and the handling of the line in general are worked out in a quite independent fashion. The centre of the picture is the male nude in motion. According to the Metamorphoses by the classical author Ovid (43 B.C.-17/18 A.D.), Orpheus introduced homosexual love to Thrace and for that reason is beaten to death by two Thracian women during a bacchanal. The group of figures is placed before a central tree in which an open book with music is hanging. The classical singer's lyre is lying at his feet. In the tree a banderole with legends: "Orfeus der erst puseran" (Orpheus, the first pederast). The woman at the left and the boy were used by D?rer a few years later in the engraving known as "Jealousy" (more correctly "Chastity and Unchastity").Artist:D?RER, Albrecht Title: Death of Orpheus Painted in 1501-1550 , German - - graphics : mythological
   
   
     
Albrecht Durer Study of an Apostle's Hands oil


Study of an Apostle's Hands
Painting ID::  63660 		Study of an Apostle's Hands
1508 Brush drawing on blue primed paper, 290 x 197 mm Graphische Sammlung Albertina, Vienna Several individual studies made for the destroyed altarpiece commissioned by the Frankfurt merchant and councilman Jakob Heller still survive. The so-called Praying Hands were a preliminary study for an apostle. Removed from their original context, they have been viewed as an autonomous work of art and have become enormously popular. In the 19th and 20th centuries in particular, numerous reproductions of the Praying Hands have graced the walls of middle-class homes as an embodiment and symbol of German piety.Artist:D?RER, Albrecht Title: Study of an Apostle's Hands (Praying Hands) Painted in 1501-1550 , German - - graphics : study
   
   
     
Albrecht Durer Adam and Eve oil


Adam and Eve
Painting ID::  63661 		Adam and Eve
1504 Pen drawing with watercolours, 242 x 201 mm The Pierpont Morgan Library, New York D?rer prepared his masterly engraving of Adam and Eve in numerous individual studies. This pen drawing was created immediately before the copper engraving and concentrates entirely on the depiction and three-dimensional structure of the male and female nudes. The body posture of the two figures shown here is already identical down to the last detail with that of the copper engraving.Artist:D?RER, Albrecht Title: Adam and Eve Painted in 1501-1550 , German - - graphics : study
   
   
     
Albrecht Durer mein Agnes oil


mein Agnes
Painting ID::  63662 		mein Agnes
1494 Pen drawing in bistre on white paper, 156 x 98 mm Graphische Sammlung Albertina, Vienna When D?rer finally returned to Nuremberg in May 1494 he was 23, fully-trained and could open his own workshop. Albrecht the Elder had felt it was time for his son to marry and had chosen a wife during his long absence. On 7 July, just a few weeks after his return, D?rer was married to Agnes Frey, the daughter of the skilled and prosperous coppersmith Hans Frey and his wife Anna Rummel. It was probably just before their wedding that D?rer sketched his fianc?e, then in her late teens. Capturing her pensive mood with just a few strokes of the pen, D?rer lovingly inscribed it: `My Agnes'. Agnes, who still appears girlish, even childlike, here, is sitting at a table and supporting her head pensively on her right hand, her hair tied back. The intimacy of this everyday sketch is unusual, showing the depicted woman at a moment when she evidently thought herself to be unobserved.Artist:D?RER, Albrecht Title: "mein Agnes" Painted in 1501-1550 , German - - graphics : portrait
   
   
     
Albrecht Durer Hand Study with Bible - Drawing oil


Hand Study with Bible - Drawing
Painting ID::  63663 		Hand Study with Bible - Drawing
280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study
   
   
     
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     Albrecht Durer
     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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