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Albrecht Durer
The Bearing of the Cross
mk168
woodcut
389x282mm
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Albrecht Durer
Christ in Limbo
mk168
392x280mm
1510
Woodcut
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Albrecht Durer
The Visitation
mk168
300x211mm
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Albrecht Durer
Joachim and the Angel
mk168
296x210mm
Woodcut
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Albrecht Durer
The Birth of the virgin
mk168
297x210mm
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Albrecht Durer
The Holy Family in egypt
mk168
295x210mm
Woodcut
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Albrecht Durer
The Death of the Virgin
mk168
293x206mm
Woodcut
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Albrecht Durer
Christ and the Doctors
mk168
Woodcut
300x208mm
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Albrecht Durer
The Flight into Egypt
mk168
woodcut
298x210mm
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Albrecht Durer
The Man of Sorrow at the Column
mk168
1509
116x75mm
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Albrecht Durer
Agony in the Garden
mk168
1508
118x75mm
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Albrecht Durer
The Betrayal Caiaphas
mk168
118x75mm
1508
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Albrecht Durer
Christ befroe Caiaphas
mk168
1512
117x74mm
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Albrecht Durer
Chris before pilate
mk168
1512
118x74mm
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Albrecht Durer
The Flagellation of Christ
mk168
1512
118x74mm
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Albrecht Durer
The Crowning with Thorns
mk168
1512
Engraving
118x74mm
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Albrecht Durer
Ecce Homo
mk168
1512
117x75mm
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Albrecht Durer
Pilate Washing his Hands
mk168
1512
117x75mm
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Albrecht Durer
Christ Bearing the Cross
mk168
1512
117x74mm
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Albrecht Durer
The Crucifixion
mk168
1507
115x71mm
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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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