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 The Prodigal Son among the Swine oil


The Prodigal Son among the Swine
Painting ID::  63639 		The Prodigal Son among the Swine
1497-98 Pen, 217 x 219 mm British Museum, London The sheet, which is cut at top and bottom, is a preliminary drawing for the (also undated) copperplate engraving, which may be assigned to 1497-98. In the engraving the houses were brought lower, the figures were brought closer together, and the best pig (the one with its feet in the trough) was omitted. The praying swineherd, whose bodily articulation is not easily discernible even in the drawing (the springing of the left leg!) became more unclear in the engraving. Such cases are important for the proper evaluation of the more mature master's efforts for complete clarity of representation.Artist:D?RER, Albrecht Title: The Prodigal Son among the Swine Painted in 1501-1550 , German - - graphics : religious
   
   
     
Albrecht Durer Head of an Angel oil


Head of an Angel
Painting ID::  63640 		Head of an Angel
1506 Brush drawing on blue Venetian paper, 270 x 208 mm Graphische Sammlung Albertina, Vienna There are a total of 22 preliminary studies, every one of which can be considered an autonomous work of art, in which D?rer prepared the Feast of the Rose Garlands (National Gallery, Prague). The head of the lute-playing angel by the Madonna's feet is a masterpiece of drawing. The technique of the brush drawing with white highlights on blue paper was one D?rer became acquainted with in Venice. The interplay of white and dark parallel and cross-hatchings which gently follow the curves of the face create the plastic effect of the light and dark shades.Artist:D?RER, Albrecht Title: Head of an Angel Painted in 1501-1550 , German - - graphics : study
   
   
     
Albrecht Durer Nuremberg Woman Dressed for Church oil


Nuremberg Woman Dressed for Church
Painting ID::  63641 		Nuremberg Woman Dressed for Church
1500 Pen and ink and watercolour on paper, 325 x 218 mm Graphische Sammlung Albertina, Vienna D?rer, who seems to have dressed well himself, was always interested in depicting clothing and he produced some of the earliest known costume studies in European art. This is one of a set of four costume studies of Nuremberg women, two of them in dancing dresses and one in everyday attire. The artist's wife Agnes; then in her mid-twenties, was probably the model. The watercolour is inscribed: `This is how people dress for church in Nuremberg' along with the text `Think of me in Thy Realm'. Dressed in her best clothes for church, the demure young woman wears a red cloak with a green lining and beneath this is a blue-green dress fringed with white fur. She has a starched linen headdress. Her eyes look down at the ground, in a contemplative pose. Four years later D?rer used this study in his woodcut of the Marriage of the Virgin. The Nuremberg woman appears at the right of the print, in reverse, as one of the seven virgins who were Mary's companions.Artist:D?RER, Albrecht Title: Nuremberg Woman Dressed for Church Painted in 1501-1550 , German - - graphics : other
   
   
     
Albrecht Durer St Jerome in His Study oil


St Jerome in His Study
Painting ID::  63642 		St Jerome in His Study
1511 Pen, 190 x 151 mm Biblioteca Ambrosiana, Milan Preliminary study for the woodcut, in which the composition is further simplified and compressed, a large white curtain of diagonal contour playing a decisive role in the change.Artist:D?RER, Albrecht Title: St Jerome in His Study Painted in 1501-1550 , German - - graphics : study
   
   
     
Albrecht Durer Male and Female Nudes oil


Male and Female Nudes
Painting ID::  63643 		Male and Female Nudes
1516 Pen, 258 x 225 mm St?delsches Kunstinstitut, Frankfurt (The significance of the action has not yet been convincingly explained.) This is a drawing of great lightness with open, quite transparent patches of strokes. The line that characterizes the form is completely absorbed in ornamental beauty. In the background, behind the lower third of the height of the figures, there is an area of parallel horizontal lines ?a feature that recurs elsewhere.Artist:D?RER, Albrecht Title: Male and Female Nudes 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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