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Albrecht Durer Christ on the Cross mk168
220x133mm
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Albrecht Durer Jean Charlier de gerson as a pligrim mk168
223x149mm
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Albrecht Durer Madonna with musical Angels mk168
Pen and ink on paper with touches of watercolor
216x151mm
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Albrecht Durer Christ as Man of Sorrows mk168
oil on fir
30x19cm
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Albrecht Durer View of Heroldsberg mk168
Pen and ink on paper
211x263mm
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Albrecht Durer An orinetal Ruler Enthroned with traces of the artist-s monogram mk168
Pen and ink on paper
306x197mm
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Albrecht Durer Three Orientals mk168
Pen and ink on paper,and watercolor
300x208mm
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Albrecht Durer The Virgin before an archway mk168
Oil on wood
48x36cm
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Albrecht Durer Burkard of Speyer mk168
Oil on wood
32x27cm
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Albrecht Durer A Young lady of Venice mk168
Oil on elmwood
32x25cm
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Albrecht Durer A Venetian lady mk168
28x21cm
Oil on poplar wood
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Albrecht Durer Head of an angel mk168
270x208mm
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Albrecht Durer THe Head of christ at age twelve mk168
275x211mm
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Albrecht Durer St.Dominic mk168
416x288mm
Vienna
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Albrecht Durer An architect mk168
386x263mm
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Albrecht Durer Albrecht Durer and an unknown companion mk168
cf.139.
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Albrecht Durer The Feast of the rose Garlands the virgen,the Infant Christ and St.Dominic distribut rose garlands mk168
162x194cm
Oil on poplar wood
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Albrecht Durer The Mantle of the pope mk168
1514
Watercolor on paper
427x288mm
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Albrecht Durer The Manile of the Pope mk168
1514
Watercolor on paper
427x288mm
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Albrecht Durer Head of a Weeping cherub mk168
211x167,mm
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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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