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Albrecht Durer The AllSaints altarpiece mk150
1511
135x126.3cm
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Albrecht Durer Martyrdom of the 10000 Christians mk150
99x87cm
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Albrecht Durer Portrait of Fohann Kleberger mk150
1526
37x36.6cm
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Albrecht Durer The All Saints altarpiece mk150
1511
135x126.3cm
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Albrecht Durer Portrait of a young Ventian Lady mk150
1505
32.5x24.5cm
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Albrecht Durer Madonna with the pear mk150
1512
49x37cm
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Albrecht Durer Emperor Maximilian mk150
1519
74x61.5cm
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Albrecht Durer Self-protrait in a Fur-Collared Robe mk156
1500
Oil on limewood panel
67.1x48.9cm
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Albrecht Durer Paumgatner Altar mk156
1502-04
Oil on lime panel
155x126cm
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Albrecht Durer Adoration of the Magi mk156
1504
Oil on panel
98x112cm
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Albrecht Durer Adam and Eve mk156
1507
Oil on panel
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Albrecht Durer The Four Holy Men mk156
1526
Oil on linderwood panels
215x76cm
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Albrecht Durer The Virgin and child with St.Anne mk161
Tempera and oil on canvas
transferred from wood
23x19
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Albrecht Durer Self-portrait as a Boy mk168
275x196cm
Vienna
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Albrecht Durer Self-Portrait of Durer-s Father mk168
284x212mm
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Albrecht Durer Endres Durer mk168
1484-1555
entered the Nuremberg gold-smiths-guild as a master in 1514
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Albrecht Durer Durer-s Mother Barbara,Nee Holper mk168
on top
in the center,the year 1514
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Albrecht Durer Six Pillows mk167
Pen and ink on paper
276x202mm
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Albrecht Durer Self-Portrait mk167
276x202mm
New York
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Albrecht Durer Albrecht Durer the Elder mk168
Oil on limewood
51x40cm
London
National Gallery
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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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