Albrecht Dürer - Knowledge

2395: 2693: 2575: 2772: 2647: 1375:. Apparently, this reflects a seventeenth-century "artists' legend" about the previously mentioned encounter (in which the emperor held the ladder) – that this encounter corresponds with the period Dürer was working on the Viennese murals. In 2020, during restoration work, art connoisseurs discovered a piece of handwriting now attributed to Dürer, suggesting that the Nuremberg master had actually participated in creating the murals at St. Stephen's Cathedral. In the recent 2022 Dürer exhibition in Nuremberg (in which the drawing technique is also traced and connected to Dürer's other works), the identity of the commissioner is discussed. Now the painting of Siegert (and the legend associated with it) is used as evidence to suggest that this was Maximilian. Dürer is historically recorded to have entered the emperor's service in 1511, and the mural's date is calculated to be around 1505, but it is possible they have known and worked with each other earlier than 1511. 2482: 2523: 2829: 2791: 2010: 1237: 2623: 2501: 945: 2353: 2981: 2374: 2727: 2418: 2746: 2927: 962: 1673: 862: 2439: 2460: 2811: 2669: 2966: 1346: 2598: 904: 44: 3000: 925: 1069: 1222: 2712: 2901: 994: 593: 1082: 2851: 2881: 2181: 2866: 6214: 1546: 2545: 2327: 415: 2082: 885: 5202: 477:) "when I was a child", as his later inscription says. The drawing is one of the earliest surviving children's drawings of any kind, and, as Dürer's Opus One, has helped define his oeuvre as deriving from, and always linked to, himself. Wolgemut was the leading artist in Nuremberg at the time, with a large workshop producing a variety of works of art, in particular woodcuts for books. Nuremberg was then an important and prosperous city, a centre for publishing and many luxury trades. It had strong links with 2118: 698: 5566: 1414: 7284: 2102: 1802: 1322:

Pirckheimer (who he met in 1495, before entering the service of Maximilian) was also an important personage in the court and great cultural patron, who had a strong influence on Dürer as his tutor in classical knowledge and humanistic critical methodology, as well as collaborator. In Maximilian's court, Dürer also collaborated with a great number of other brilliant artists and scholars of the time who became his friends, like

522: 2394: 457:(1490–1534), became also a painter, trained under the older Albrecht. The other surviving brother, Endres Dürer (1484–1555), took over their father's business and was a master goldsmith. The German name "Dürer" is a translation from the Hungarian, "Ajtósi". Initially, it was "Türer", meaning doormaker, which is "ajtós" in Hungarian (from "ajtó", meaning door). A door is featured in the 1209:, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. His only experiments with 2066:

variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ("Nutz"), naïve approval ("Wohlgefallen") and the happy medium ("Mittelmass"). However, unlike Alberti and

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It is now thought unlikely that Dürer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great

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In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the

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Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominantly in private collections located in only a few cities. His success in spreading his reputation

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Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on

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in 1524, Dürer wrote, "because of our Christian faith we have to stand in scorn and danger, for we are reviled and called heretics". Most tellingly, Pirckheimer wrote in a letter to Johann Tscherte in 1530: "I confess that in the beginning I believed in Luther, like our Albert of blessed memory ...

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In another occasion, Maximilian noticed that the ladder Dürer used was too short and unstable, thus told a noble to hold it for him. The noble refused, saying that it was beneath him to serve a non-noble. Maximilian then came to hold the ladder himself, and told the noble that he could make a noble

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Dürer manifested a strong pride in his ability, as a prince of his profession. One day, the emperor, trying to show Dürer an idea, tried to sketch with the charcoal himself, but always broke it. Dürer took the charcoal from Maximilian's hand, finished the drawing and told him: "This is my scepter."

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Maximilian was a very cash-strapped prince who sometimes failed to pay, yet turned out to be Dürer's most important patron. In his court, artists and learned men were respected, which was not common at that time (later, Dürer commented that in Germany, as a non-noble, he was treated as a parasite).

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in 1495, Dürer opened his own workshop (being married was a requirement for this). Over the next five years, his style increasingly integrated Italian influences into underlying Northern forms. Arguably his best works in the first years of the workshop were his woodcut prints, mostly religious, but

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to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on

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in a rough tone about his wife, calling her an "old crow" and made other vulgar remarks. Pirckheimer also made no secret of his antipathy towards Agnes, describing her as a miserly shrew with a bitter tongue, who helped cause Dürer's death at a young age. It has been hypothesized by many scholars

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Dürer's writings suggest that he may have been sympathetic to Luther's ideas, though it is unclear if he ever left the Catholic Church. Dürer wrote of his desire to draw Luther in his diary in 1520: "And God help me that I may go to Dr. Martin Luther; thus I intend to make a portrait of him with

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woodcuts, first published in 1511, and a set of fifteen small engravings on the same theme in 1512. Complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. In 1513 and 1514 Dürer created his three most

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The evidence for this trip is not conclusive; the suggestion it happened is supported by Panofsky (1945) and is accepted by a majority of scholars, including the several curators of the large 2020–22 exhibition "Dürer's Journeys", but it has been disputed by other scholars, including Katherine

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following an arrangement made during his absence. Agnes was the daughter of a prominent brass worker (and amateur harpist) in the city. However, no children resulted from the marriage, and with Albrecht the Dürer name died out. The marriage between Agnes and Albrecht was believed not to be a

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Because Dürer left autobiographical writings and was widely known by his mid-twenties, his life is well documented in several sources. After a few years of school, Dürer learned the basics of goldsmithing and drawing from his father. Though his father wanted him to continue his training as a

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Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented. While providing valuable

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Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and

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understanding of what the technique could be made to produce, and how to work with block cutters. Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.

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from him. To Dürer it seemed that De' Barbari was unwilling to explain everything he knew, so he began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of

2745: 2646: 2417: 2070:, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or 1094:

Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with many of the major artists including

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was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds

2373: 2205:(Libr.Pict.A.83), is also thought to have originated in his workshop around this time. These sketches and watercolours show the same careful attention to detail and human proportion as Dürer's other work, and his illustrations of grappling, long sword, dagger, and 1027:. In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time Dürer's engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of 2032:) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both 2352: 2192:

Dürer created many sketches and woodcuts of soldiers and knights over the course of his life. His most significant martial works, however, were made in 1512 as part of his efforts to secure the patronage of Maximilian I. Using existing manuscripts from the

2522: 2459: 1049:, peacefully kneeling in adoration before her throne, both with their crowns taken off. It also includes portraits of members of Venice's German community and of Dürer himself on the upper right holding a designation of his authorship. Besides the 2500: 2810: 1568:, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and 2926: 944: 2999: 2075:

half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year".

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but as anyone can see, the situation has become worse." Dürer may even have contributed to the Nuremberg City Council's mandating Lutheran sermons and services in March 1525. Notably, Dürer had contacts with various reformers, such as

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present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. Dürer has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the

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According to Vasari, Dürer sent Raphael a self-portrait in watercolour, and Raphael sent back multiple drawings. One is dated 1515 and has an inscription by Dürer (or one of his heirs) affirming that Raphael sent it to him. See

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in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving

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Dürer worked with pen on the marginal images for an edition of the Emperor's printed prayer book; these were quite unknown until facsimiles were published in 1808 as part of the first book published in

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Dürer was born on 21 May 1471, the third child and second son of Albrecht Dürer the Elder and Barbara Holper, who married in 1467. Albrecht Dürer the Elder (originally Albrecht Ajtósi) was a successful

1184:(both 1514, the year Dürer's mother died). Further outstanding pen and ink drawings of Dürer's period of art work of 1513 were drafts for his friend Pirckheimer. These drafts were later used to design 2965: 2201:("Weapon Training, or Albrecht Dürer's Meditation on the Handling of Weapons", MS 26-232). Another manuscript based on the Nuremberg texts as well as one of Hans Talhoffer's works, the untitled 510:

illustrations (albeit with many repeated uses of the same block) by the Wolgemut workshop. Dürer may have worked on some of these, as the work on the project began while he was with Wolgemut.

2865: 2262:). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to also dominate Northern engraving. 1454:, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal. In addition to attending the coronation, he visited Cologne (where he admired the painting of 3673: 1575:

However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of

557:—in which the apprentice learned skills from other masters, their local tradition and individual styles; Dürer was to spend about four years away. He left in 1490, possibly to work under 1537:

Having secured his pension, Dürer returned home in July 1521, having caught an undetermined illness, which afflicted him for the rest of his life, and greatly reduced his rate of work.

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documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one. For example, Dürer offered his last portrait of Maximilian to his daughter,

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Maximilian's death came at a time when Dürer was concerned he was losing "my sight and freedom of hand" (perhaps caused by arthritis) and increasingly affected by the writings of

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to make engravings. Most likely he had learned this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the

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produced the first planispheres of both southern and northerns hemispheres, as well as the first printed celestial maps, which prompted the revival of interest in the field of

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and empirical observations of "two to three hundred living persons", in his own words. The second book includes eight further types, broken down not into fractions but an

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the family acquired. Albrecht Dürer the Younger later changed "Türer", his father's diction of the family's surname, to "Dürer", to adapt to the local Nuremberg dialect.

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came in this period, producing five between 1515–1516 and a sixth in 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form.

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in the depiction of the greenery and the garments, and the use of his own hues, the altar-piece shows a strong Italian influence. It was later acquired by the Emperor

6432: 793:, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of 741:

in 1496, was executed by Dürer and his assistants c. 1500. In 1502, Dürer's father died. Around 1503–1505 Dürer produced the first 17 of a set illustrating the

1434:. In July 1520 Dürer made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secure the patronage of the new emperor, 496:

left goldsmithing to become a printer and publisher in the year of Dürer's birth. He became the most successful publisher in Germany, eventually owning twenty-four

449:. He married Barbara, his master's daughter, when he himself qualified as a master. Her mother, Kinga Öllinger had some roots in Hungary too, as she was born in 1284: 5809: 4252: 1692:

great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties." In a letter to

5980: 1782:("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose which Luther had begun with his translation of the 823:(1504), which shows his subtlety while using the burin in the texturing of flesh surfaces. This is the only existing engraving signed with his full name. 6213: 5964: 3138: 1661:

Dürer died in Nuremberg at the age of 56, leaving an estate valued at 6,874 florins – a considerable sum. He is buried in the Johannisfriedhof cemetery.

1391: 1506:, but eventually traded the picture for some white cloth after Margaret disliked the portrait and declined to accept it. During this trip he also met 642:. He also would have had access to some Italian works in Germany, but the two visits he made to Italy had an enormous influence on him. He wrote that 7223: 2050:

of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of

573:. In Colmar, Dürer was welcomed by Schongauer's brothers, the goldsmiths Caspar and Paul and the painter Ludwig. Later that year, Dürer travelled to 5042: 1715:

in 1520. Yet Erasmus and C. Grapheus are better said to be Catholic change agents. Also, from 1525, "the year that saw the peak and collapse of the

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The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal fortification (the

2009: 3681: 690:). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. 4981: 1634:, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile. 719: 5155: 7218: 6392: 6093: 2406:, 1511, oil on poplar, 135 × 123.4 cm, Kunsthistorisches Museum (GG 838). The framework is a reconstruction of his design 1390:

In 1515 Dürer and Stabius created the first world map projected on a solid geometric sphere. Also in 1515, Stabius, Dürer and the astronomer

1752:, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of saints; even if Dürer was not an 766:

singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably

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In Italy, he went to Venice to study its more advanced artistic world. Through Wolgemut's tutelage, Dürer had learned how to make prints in

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As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise. The portraits include his boyhood friend

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system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of

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Dürer created large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the

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De vrbibus, arcibus, castellisque condendis, ac muniendis rationes aliquot : praesenti bellorum necessitati accommodatissimae

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On Cities, Forts, and Castles, Designed and Strengthened by Several Manners: Presented for the Most Necessary Accommodation of War

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On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a

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was the oldest and still the best of the artists in Venice. His drawings and engravings show the influence of others, notably

155: 7340: 7330: 5102: 5019: 4957: 4942: 4928: 4892: 4700: 4462: 4428: 4394: 4360: 4289: 4178: 4144: 3935: 3876: 3842: 3706: 3442: 1669:), where his workshop was located and where his widow lived until her death in 1539, remains a prominent Nuremberg landmark. 804:, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in 5732: 3033: 165: 7405: 7360: 7003: 5251: 1845: 1503: 610:

that Albrecht was bisexual or homosexual, due to the recurrence of allegedly homoerotic themes in some of his works (e.g.

5857: 2101: 1345: 1257:, a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of 356: 7163: 5326: 1243:(1515, 1799 ed.), 42 woodcuts and 2 etchings, 354 × 298.5 cm overall (National Gallery of Art, Inv. 76935) 5434: 3658: 2736: 2359: 7177: 7075: 5745: 5537: 5004: 4843: 3173: 2529: 2117: 1372: 5474: 4203:"Astounded Scholars Just Found What Appears to Be a Previously Unknown Work by Albrecht Dürer in a Church's Gift Shop" 1819: 1221: 1174: 6086: 5769: 5117: 5034: 4911: 4878: 4858: 4784: 3636: 3495: 3397: 3254: 2309: 2108: 1885: 1852: 3508: 3507:

Campbell, Angela and Raftery, Andrew. "Remaking Dürer: Investigating the Master Engravings by Masterful Engraving",

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than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the

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modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.

1068: 1046: 836:) from circa 1508, a study for an apostle in the Heller altarpiece. He continued to make images in watercolour and 738: 320: 43: 5711: 5703: 5418: 1023: 702: 50: 7410: 7355: 7335: 7325: 6662: 6053: 5513: 5196: 4202: 3299:

The Life of Albrecht Dürer of Nürnberg: With a Translation of His Letters and Journal and an Account of His Works

2172:), though his designs seem to have had some influence in the eastern German lands and up into the Baltic region. 1205:

from a written description and sketch by another artist, without ever seeing the animal himself. An image of the

293: 80: 5280: 1834: 7435: 7238: 7208: 6648: 5687: 1823: 1269:, the architectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by 1168: 733: 5889: 2720:, 1501, brush and pen(?) w/ highlights and construction lines, 16.9 × 21.8 cm, Albertina (3072) 2513: 327: 7425: 7390: 5466: 5054: 2380: 1435: 1423: 1318:. Dürer also made several portraits of the Emperor, including one shortly before Maximilian's death in 1519. 1110: 1057: 751:

were published as sets until several years later, but prints were sold individually in considerable numbers.

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correspondence with Erasmus and other scholars. Dürer succeeded in producing two books during his lifetime.

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in 1492. It is unclear where Dürer travelled in the intervening period, though it is likely that he went to

7288: 7101: 6763: 6613: 6582: 6477: 6424: 6339: 6238: 6079: 5545: 5442: 2640:("1512" by later hand), watercolour and gouache on parchment, 19.6 × 20 cm, Albertina (4840) 6005: 1676: 1662: 465:

goldsmith, he showed such a precocious talent in drawing that he was allowed to start as an apprentice to

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Korolija Fontana-Giusti, Gordana. "The Unconscious and Space: Venice and the Work of Albrecht Dürer", in

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Albrecht Dürer, His Life and a Selection of His Works: With Explanatory Comments by Dr. Friedrich Nüchter

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Within three months of his marriage, Dürer left for Italy, alone, perhaps stimulated by an outbreak of

296:, Dürer established his reputation and influence across Europe in his twenties due to his high-quality 7310: 5450: 5273: 5169: 7415: 7385: 7380: 6620: 6181: 5956: 4648:"Hierinn sind begriffen vier Bucher von menschlicher Proportion durch Albrechten Durer von Nurerberg" 2629: 2364: 2243: 285: 5150: 5136: 7213: 6634: 5881: 5865: 5668: 5553: 5498: 2401: 2385: 1279: 1229: 1124: 875: 840:(usually combined), including a number of still lifes of meadow sections or animals, including his 785:), with a highly detailed landscape background and animals. His landscapes of this period, such as 268: 5941: 5873: 5817: 2937: 1197: 1086: 968: 344: 17: 7350: 7345: 6937: 6627: 6270: 6151: 5596: 2956: 2762: 2286: 1859: 1812: 1716: 1353: 1311: 1003: 805: 394: 370:, and with his confident self-portraits he pioneered them as well as autonomous subjects of art. 5458: 3417: 1387:. Stabius also often acted as Dürer's and Maximilian's go-between for their financial problems. 1371:

have become relevant recently. This nineteenth-century painting shows Dürer painting a mural at

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Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, Dürer was married to

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across Europe through prints was undoubtedly an inspiration for major artists such as Raphael,

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expanded especially the tonal range of his engravings; well-known engravings include the three

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to stay with another brother of Martin Schongauer, the goldsmith Georg. In 1493 Dürer went to

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Dürer's exploration of space led to a relationship and cooperation with the court astronomer

1128:(1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the 801: 606: 414: 5801: 5761: 5661: 2533:, 1526, oil and paint on limewood, 51 × 37 cm, Gemäldegalerie, Berlin (557E) 1607:, was given by Dürer to the City of Nuremberg—although he was given 100 guilders in return. 7320: 7315: 7034: 6905: 6786: 6399: 5426: 4921:

Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530

4916: 4557: 3293: 2255: 2071: 2041: 1627: 1426:, Lisbon. Dürer's most important painting created during his fourth and last major journey. 390: 178: 5256: 5220: 3106:; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe; 561:, the leading engraver of Northern Europe, but who died shortly before Dürer's arrival at 500:

and a number of offices in Germany and abroad. Koberger's most famous publication was the

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His engravings seem to have had an intimidating effect upon his German successors; the "

955:(1503), watercolour and gouache w/highlighting, 40,8 × 31,5 cm, Albertina 7264: 7121: 6951: 6747: 6737: 6590: 6462: 6317: 5581: 4975: 4903: 4789: 3565: 3545: 3411: 2259: 2251: 2247: 1959:. The third book applies these principles of geometry to architecture, engineering and 1749: 1706: 1619: 1295: 1253: 1163: 980: 743: 547:

After completing his apprenticeship, Dürer followed the common German custom of taking

446: 367: 317: 289: 6457: 3611: 1947:

The second book moves onto two-dimensional geometry, i.e. the construction of regular

1918:). The first book focuses on linear geometry. Dürer's geometric constructions include 506:, published in 1493 in German and Latin editions. It contained an unprecedented 1,809 6985: 6959: 6841: 6502: 5649: 5626: 5529: 5215: 5113: 5098: 5070: 5030: 5015: 5000: 4963: 4953: 4938: 4924: 4907: 4888: 4874: 4854: 4839: 4811: 4780: 4696: 4647: 4458: 4424: 4390: 4356: 4285: 4174: 4140: 3931: 3872: 3838: 3702: 3632: 3491: 3438: 3393: 3297: 3250: 3169: 2565: 2239: 2067: 1996: 1748:, although this interpretation has been questioned. The delaying of the engraving of 1702: 1603: 1507: 1476: 1366: 1342:

out of a peasant any day, but he could not make an artist like Dürer out of a noble.

1299: 1206: 936: 755: 582: 558: 474: 339: 313: 281: 84: 6060: 5230: 4383:

Lachièze-Rey, Marc; Luminet, Jean-Pierre; France, Bibliothèque nationale de (2001).

4167:

Landfester, Manfred; Cancik, Hubert; Schneider, Helmuth; Gentry, Francis G. (2006).

2491: 1009:

In Italy, he returned to painting, at first producing a series of works executed in

7135: 6826: 6776: 6722: 6677: 6606: 6406: 6186: 5972: 5777: 5206: 5082: 4793: 4227: 3674:"Freedom and Resistance in the Act of Engraving (or, Why Dürer Gave up on Etching)" 3125: 3107: 2343: 2234: 2021: 1968: 1698: 1693: 1666: 1527: 1515: 1490: 1384: 1327: 1323: 1266: 1050: 813: 651: 643: 639: 549: 466: 398: 309: 305: 243: 182: 6831: 6656: 6642: 2226:, all of whom collaborated with printmakers to promote and distribute their work. 828: 638:

and design woodcuts in the German style, based on the works of Schongauer and the

589:) was painted at this time, probably to be sent back to his fiancée in Nuremberg. 7269: 6997: 6886: 6801: 6781: 6732: 6322: 6228: 6203: 6141: 5785: 5243: 5159: 4678: 4350: 4168: 4084: 4009: 3900: 3755: 3696: 3650: 3524: 3432: 2662:, dark brown ink and watercolour, 31,9 × 24,1 cm, Albertina (3066) 2469: 2278: 2206: 1980: 1935: 1765: 1728: 1651: 1631: 1615: 1523: 706: 655: 374: 6791: 4484:

Bartrum, 204. Quotation from a letter to the secretary of the Elector of Saxony.

4312:

Conway, Sir William Martin; Conway, William Martin Sir; Dürer, Albrecht (1889).

3958:

Conway, Sir William Martin; Conway, William Martin Sir; Dürer, Albrecht (1889).

2819:, 1515, the only surviving printing plate, iron, 22.7 × 16.1 cm, 6836: 6811: 6757: 6742: 6698: 6569: 6561: 6442: 6161: 6036: 5363: 5357: 5211: 4864: 4831: 4817: 4751: 4549: 3385: 3348: 3066: 2613: 2290: 2230: 2055: 1992: 1972: 1733: 1531: 1455: 1185: 1042: 763: 658:, whose work he produced copies of while training. Dürer probably also visited 497: 493: 224: 6021: 4967: 4420:

Scandalous Error: Calendar Reform and Calendrical Astronomy in Medieval Europe

3540:

Schaar, Eckhard. "A Newly Discovered Proportional Study by Dürer in Hamburg".

3213: 605:

generally happy one, as indicated by a letter of Dürer in which he quipped to

7304: 7254: 7233: 7170: 7022: 6816: 6727: 6548: 6508: 6492: 6413: 6385: 6253: 6243: 6168: 6156: 5833: 5565: 5131: 5097:, eds. J. Hendrix and L.Holm, Farnham Surrey: Ashgate, 2016, pp. 27–44, 5029:, translated by R.T. Nichol from the Latin text, Dover Publ., New York 1965. 3192: 2051: 1756:, in his last years he evaluated and questioned the role of art in religion. 1719:, the artist can be seen to distance himself somewhat from the movement..." 1569: 1431: 1331: 1102:

Between 1507 and 1511 Dürer worked on some of his most celebrated paintings:

794: 697: 418: 6031: 4950:

Im Paradies: Adam und Eva und der Sündenfall – Albrecht Dürers Darstellungen

2147:, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in 454: 7046: 6945: 6796: 6707: 6702: 6600: 6521: 6437: 6356: 6260: 6233: 6198: 6131: 5849: 4803: 3560:

Kotková, Olga. "'The Feast of the Rose Garlands': What Remains of Dürer?".

3409: 3005: 2282: 2223: 2169: 1783: 1511: 1485: 1471: 1315: 1180: 1073: 659: 458: 453:. The couple had eighteen children together, of which only three survived. 442: 362: 55: 4386:

Celestial Treasury: From the Music of the Spheres to the Conquest of Space

4170:

Brill's New Pauly: Encyclopaedia of the Ancient World. Classical tradition

1764:

In all his theoretical works, in order to communicate his theories in the

1413: 300:. He was in contact with the major Italian artists of his time, including 7095: 6868: 6806: 6717: 6712: 6312: 6275: 3103: 2889:, 1518, etching, 21.7 × 32 cm (Metropolitan Museum of Art) 2271: 2059: 1643: 1642:

were published at Nuremberg in 1525 and was the first book for adults on

1307: 1141: 894: 728: 623: 570: 470: 421: 389:, has secured his reputation as one of the most important figures of the 331: 137: 4885:

Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith

2916:, carved pearwood block, 39.4 × 28.3 × 2.6 cm, 2384:, 1508, oil from wood transferred to canvas, 99 × 87 cm, 6916: 6821: 6771: 6351: 6146: 5910: 5184: 4552:(2010), "Albrecht Dürer between Agnes Frey and Willibald Pirckheimer", 3549: 3008:, which features a door as a pun on his name, and the winged bust of a 2137:

Various Lessons on the Fortification of Cities, Castles, and Localities

1988: 1984: 1960: 1927: 1826: in this section. Unsourced material may be challenged and removed. 1773: 1753: 1723: 1552:, unfinished oil painting on linden wood, 58.1 × 47 cm, 931: 842: 837: 601: 578: 378: 335: 194: 6071: 5135: 3651:"Dürer's hemispheres of 1515 – the first European printed star charts" 3569: 2270:

of about 1570 to 1630, in the early nineteenth century, and in German

754:

During the same period Dürer perfected the difficult art of using the

6880: 6467: 6447: 6116: 3058: 2144: 2033: 1964: 1745: 1741: 1680: 1519: 1258: 1153: 675: 566: 434: 425: 76: 2587:, 1495, watercolour with highlights, 22.3 × 22.2 cm, 1801: 6693: 6295: 6193: 6121: 3189:"Albrecht – Deutsch – Langenscheidt Französisch-Deutsch Wörterbuch" 2092: 1899: 1654:. The other, a work on city fortifications, was published in 1527. 1459: 635: 554: 132: 4820:. "Dürer and the Reformation: The Problem of the Re-dating of the 4083:

Bledsoe, Albert Taylor; Herrick, Sophia M'Ilvaine Bledsoe (1965).

3318:"Albrecht Dürer (1471 -1528) and Hungary - Hungarian-Ottoman Wars" 3137:

In March of this year, two months before his mother died, he drew

3102: 6595: 6334: 6248: 6126: 5265: 5227:

Nuremberg, with a comprehensive bibliography since 1971 (German).

5173: 5043:"Schlaglicht: Die einzige erhaltene Radierplatte Albrecht Dürers" 4900:

The Complete Engravings, Etchings and Drypoints of Albrecht Durer

2859:, 1521, 11.6 × 7.4 cm (Metropolitan Museum of Art) 2780:, spring 1514, charcoal on paper, 42.2 × 30.6 cm, 2561: 2199:Οπλοδιδασκαλια sive Armorvm Tractandorvm Meditatio Alberti Dvreri 1971:. In typography, Dürer depicts the geometric construction of the 1952: 1948: 1919: 1647: 1495: 1451: 1447: 1210: 1096: 1010: 809: 507: 301: 277: 111: 7192:

Viewpoints: Mathematical Perspective and Fractal Geometry in Art

4061:

Maximilian I, Holy Roman Emperor: Stanhope Historical Essay 1901

2874:, 1524, 19 × 12.4 cm (Metropolitan Museum of Art) 2141:

Etliche Underricht zu Befestigung der Stett, Schloss und Flecken

747:, which he did not finish for some years. Neither these nor the 727:

in the same year, and a little later, a series of eleven on the

521: 6300: 4679:

Instruction sur la fortification des villes: bourgs et châteaux

4352:

Maximilian I. (1459–1519): Wahrnehmung – Übersetzungen – Gender

4166: 3927:

Perfection's Therapy: An Essay on Albrecht Dürer's Melencolia I

2702: 2701:, 1495, brush and pen on paper, 31.6 × 21.2 cm, 2678: 2588: 2473: 2450: 2219: 2148: 1956: 1737: 1467: 1439: 1202: 1189: 1140:

series. The post-Venetian woodcuts show Dürer's development of

1136:, both published in 1511 together with a second edition of the 1053: 663: 586: 562: 536: 532: 482: 450: 366:(1514). His watercolours mark him as one of the first European 272:; 21 May 1471 – 6 April 1528), sometimes spelled in English as 2159:), published by Christian Wechel (Wecheli/Wechelus) in Paris. 1999:

semi-regular solids, as well as several of his own invention.

1658:

were published posthumously, shortly after his death in 1528.

935:, 1502, watercolour and gouache, 25 × 22.5 cm, 255: 252: 6285: 3218: 3009: 2584: 1769: 1481: 1443: 1014: 574: 540: 478: 469:

at the age of fifteen in 1486. A self-portrait, a drawing in

4454:

The Spatial Reformation: Euclid Between Man, Cosmos, and God

2844:/02, 33.5 × 23.3 cm (National Gallery of Art) 1063: 614:), and the nature of his correspondence with close friends. 6307: 6290: 3077:(1488) and that of Wolgemut's workshop. Panofsky (1945), 21 486: 2612:, watercolour and gouache, 26.2 × 35.6 cm, 249: 5195:

from the original work. Historical Anatomies on the Web.

4382: 3070: 2494:, Berlin (557G). The abstract background suggests the sea 1408: 914:(1504), copper engraving, 29.8 × 21.1 cm ( 893:(1496), copper engraving, 24.7 × 19.1 cm ( 4836:

The Moment of Self-Portraiture in German Renaissance Art

3403: 3214:"Duden | Dürer | Rechtschreibung, Bedeutung, Definition" 2681:, 19.3 × 16.8 cm, National Gallery of Art 2428:, 1490, oil on fir wood, 47.2 × 35.7 cm, 2062:. The fourth book is devoted to the theory of movement. 1908:

Underweysung der Messung mit dem Zirckel und Richtscheyt

1017:. These include portraits and altarpieces, notably, the 5071:"Navel Gazing. On Albrecht Dürer's Adam and Eve (1504)" 1352:, 1515, woodcut print, 61.3 × 45.6 cm, ( 1228:(1519), oil on lime wood, 74 × 61,5 cm, 983:

on blue paper, 29.1 × 19.7 cm, Albertina

513: 4798:

Simiolus: Netherlands Quarterly for the History of Art

3410:

Harry John Wilmot-Buxton; Edward John Poynter (1881).

3247:

Substantiv-Derivation in Den Schriften Albrecht Dürers

2468:, 1499, oil on limewood, 49.6 × 39 cm, 2363:, 1506, oil on poplar, 64.3 × 80.3 cm, 2197:

as his reference, his workshop produced the extensive

1422:(1521), oil on oakwood, 59. × 48.5 cm, 1378: 1265:. The design program and explanations were devised by 1147:

Other works from this period include the thirty-seven

988: 334:

and books. The woodcuts series are stylistically more

7431:

People celebrated in the Lutheran liturgical calendar

5068: 4838:. Chicago/London: University of Chicago Press, 1993. 4747:"Twice Stolen, Twice Found: A Case of Art On the Lam" 4627:, edited by Rene Taton, translated by A. J. Pomerans. 2449:, 1490, oil on panel, 47.5 × 39.5 cm, 2209:

are among the highest-quality in any fencing manual.

1540: 1442:. Dürer journeyed with his wife and her maid via the 617: 5981:

The Virgin and Child with a Flower on a Grassy Bench

5075:

The International Journal of Arts Theory and History

3905:

E.P. Goldschmidt & Company, Limited. p. 125

2974:, 1498, 39.5 × 28.5 cm, (NGA, 142352) 2490:

1506, oil on poplar, 28.5 × 21.5 cm,

1665:(purchased in 1509 from the heirs of the astronomer 650:, with his interest in the proportions of the body; 4873:. Princeton, NJ: Princeton University Press, 1945. 4330: 3474:, University of Chicago Press, 2015, p. 332, n. 93. 2281:commemorates Dürer annually on 6 April, along with 1736:theme, focusing as it does on Christ espousing the 1722:Dürer's later works have also been claimed to show 1002:(1506), oil on panel, 162 × 192 cm, 581:, where he would have experienced the sculpture of 246: 27:

German painter, printmaker and theorist (1471–1528)

7089:The Drawing of Geometric Patterns in Saracenic Art 2342:, oil on pearwood, 23.1 × 17.4 cm, 669: 585:. Dürer's first painted self-portrait (now in the 7224:Goudreau Museum of Mathematics in Art and Science 4311: 3957: 3486:Lee, Raymond L. & Alistair B. Fraser. (2001) 3459:Albrecht Dürer and the Epistolary Mode of Address 3353:The Moment of Self-Portraiture in Renaissance Art 3302:. London: Seeley, Jackson and Halliday. pp. 2002: 1283:, the program of which was worked out in 1512 by 7302: 5965:Portrait of the Artist's Mother at the Age of 63 5146:. Vol. 8 (11th ed.). pp. 697–703. 4744: 4457:. University of Pennsylvania Press. p. 98. 2778:Portrait of the Artist's Mother at the Age of 63 121:Adalbert Ajtósi, Albrecht Durer, Albrecht Duerer 4828:, Vol. 58, No. 3, September 1976, pp. 368–373. 3430: 2151:. In 1535 it was also translated into Latin as 1941:Libellus super viginti duobus elementis conicis 1360:This story and a 1849 painting depicting it by 5012:Dürers Nacktheit – Das Weimarer Selbstbildnis. 4082: 3128:as "very old, but still the best in painting". 2425:Portrait of Dürer’s Mother Barbara, née Holper 1350:The Northern Hemisphere of the Celestial Globe 762:, which the Italian Renaissance art historian 424:drawing by the thirteen-year-old Dürer, 1484. 7219:European Society for Mathematics and the Arts 6393:Mathematica: A World of Numbers... and Beyond 6087: 5281: 4796:. "The Portrait Diptych of Dürer's parents". 3698:The Renaissance: European Painting, 1400–1600 1967:but elaborates his own classical designs and 1732:woodcut has often been understood to have an 1561: 1334:, and Hans Tscherte (an imperial architect). 1251:became Dürer's major patron. He commissioned 531:(1493) by Albrecht Dürer, oil, originally on 6373:List of works designed with the golden ratio 4114:. Macmillan and Company, limited. p. 22 4057: 4007: 3806:"Erfolgreiche Medienarbeit für die Nachwelt" 3694: 3461:, University of Chicago Press, 2017, p. 179. 3424: 3339:Brand Philip & Anzelewsky (1978–79), 10. 3266:Brand Philip & Anzelewsky (1978–79), 11. 3089:Albrecht Dürer and the Venetian Renaissance, 2163: 1789: 1777: 1772:, Dürer used graphic expressions based on a 1686: 1216: 596:Dürer's sketch of his wife Agnes Frey (1494) 381:into Northern art, through his knowledge of 5810:Joachim and Anne Meeting at the Golden Gate 4536: 4534: 4532: 4530: 4348: 3830: 3381: 3012:(1523), 35.1 × 26.1 cm (MET) 2045: 1939: 1646:in German, as well as being cited later by 1122:(1509, for Jacob Heller of Frankfurt), and 874:, woodcut, 39.2 × 28.3 cm, ( 6094: 6080: 5288: 5274: 5051:Saxon State and University Library Dresden 4980:: CS1 maint: location missing publisher ( 4389:. Cambridge University Press. p. 86. 3871:. University of Texas Press. p. 120. 3837:. Greenhaven Publishing LLC. p. 254. 3525:"Johannesapokalypse in klassischen Comics" 3434:Encyclopedia of Gay Histories and Cultures 3379: 3377: 3375: 3373: 3371: 3369: 3367: 3365: 3363: 3361: 3061:as a frontispiece for Nicholaus Kessler's 2993:, 1510, 12.5 × 9.8 cm (NGA) 2040:system, which Dürer probably learned from 42: 6433:Cathedral of Saint Mary of the Assumption 5164:Sterling and Francine Clark Art Institute 4690: 4355:(in German). StudienVerlag. p. 245. 3735:. Seeley and Company, limited. p. 66 3672:Cohen, Brian D (September–October 2017). 3241: 3239: 3237: 1886:Learn how and when to remove this message 1064:Nuremberg and the masterworks (1507–1520) 485:, a relatively short distance across the 409: 5696:Portrait of the Artist Holding a Thistle 5244:Newspaper clippings about Albrecht Dürer 4947: 4527: 4423:. Oxford University Press. p. 278. 4008:Bongard, Willi; Mende, Matthias (1971). 3868:Nuremberg, a Renaissance City, 1500–1618 3778: 3631:. Brill Academic Publishers, 2010. 116. 3288: 3286: 2179: 2128: 2008: 1671: 1544: 1412: 1344: 1235: 1220: 1080: 1067: 1031:. This was the altar-piece known as the 992: 723:. He made the first seven scenes of the 696: 591: 520: 437:who by 1455 had moved to Nuremberg from 413: 6979:Vier Bücher von Menschlicher Proportion 6101: 5187:Vier Bücher von menschlicher Proportion 5110:The Complete Woodcuts of Albrecht Durer 4416: 4281:Mercator: The Man who Mapped the Planet 4253:"Albrecht Dürer gibt weiter Rätsel auf" 4200: 4139:. Parkstone International. p. 36. 4107: 4032: 3923: 3803: 3760:. Tudor Publishing Company. p. 233 3358: 3342: 2512:, 1521, 45.5 × 31.5 cm, 2212: 2089:Vier Bücher von menschlicher Proportion 2030:Vier Bücher von menschlicher Proportion 14: 7303: 5395:Hercules Killing the Stymphalian Birds 5130: 4800:, Volume 10, No. 1, 1978–79, pp. 5–18. 4779:. London: British Museum Press, 2002. 4718:edited by Scot A. Kinnaman, CPH, 2010. 4450: 4039:. J. M. Dent & Company. p. 73 3482: 3480: 3292: 3234: 2948:, 39 × 28 cm, (printed 2446:Albrecht Dürer the Elder with a Rosary 1409:Journey to the Netherlands (1520–1521) 717:is dated 1498, as is his engraving of 713:His series of sixteen designs for the 6075: 5269: 5262:, 20 September 2019 – 6 January 2020. 4923:. London: Thames & Hudson, 2011. 4645: 4336: 4277: 4058:Seton-Watson, Robert William (1902). 3982: 3864: 3779:Innes, Mary; Kay, Charles De (1911). 3753: 3671: 3661:from the original on 30 October 2023. 3629:Enduring Loss in Early Modern Germany 3612:Knight, Death, and the Devil, 1513–14 3536: 3534: 3437:. Taylor & Francis. p. 262. 3333: 3283: 3163: 3159: 3157: 3069:argues that this print combined the " 2312:. The drawings were later recovered. 2304:– along with other works of art were 2186:Meditation on the Handling of Weapons 1776:, craftsmen's language. For example, 267: 5178:The Strange World of Albrecht Dürer. 5041:Ehrl, Franziska (28 February 2020). 5040: 4999:. Princeton University Press, 1990. 4729:"'What is a Commemoration...', ELCA" 4132: 3899:Co, E. P. Goldschmidt & (1925). 3728: 3564:, Volume 144, No. 1186, 2002. 4–13. 3355:, University of Chicago Press, 1993. 3276: 3274: 3272: 3260: 3029:List of engravings by Albrecht Dürer 2472:, München. Krel was a merchant from 2300:, valued at about $ 10 million, and 1983:is based upon an entirely different 1951:. Here Dürer favours the methods of 1824:adding citations to reliable sources 1795: 1759: 1530:, though he did not, it seems, meet 7164:Journal of Mathematics and the Arts 5327:Portrait of Frederick III of Saxony 5319:Portrait Diptych of Dürer's Parents 5166:. 14 November 2010 – 13 March 2011 5152:The Strange World of Albrecht Dürer 4623:A. Koyre, "The Exact Sciences", in 4502:Landau & Parshall: 350–354 and 3648: 3544:, vol. 36, no. 1, 1998. pp. 59–66. 3477: 3324: 3024:List of paintings by Albrecht Dürer 2488:Portrait of a Young Venetian Woman, 2296:In 1993, two of Dürer's drawings – 2058:; here Dürer also deals with human 1979:. However, his construction of the 1379:Cartographic and astronomical works 1273:, with Dürer as designer-in-chief. 989:Second journey to Italy (1505–1507) 326:Dürer's vast body of work includes 24: 7396:German people of Hungarian descent 7178:Making Mathematics with Needlework 5746:The Holy Family with the Dragonfly 5538:Portrait of Hieronymus Holzschuher 5443:Portrait of a Young Venetian Woman 5295: 5087:10.18848/2326-9960/CGP/v12i01/1-10 4989: 4870:The Life and Art of Albrecht Dürer 4650:. Hieronymus Andreae Formschneider 4315:Literary Remains of Albrecht Dürer 4201:Cascone, Sarah (10 January 2020). 3964:. University Press. pp. 26–30 3961:Literary Remains of Albrecht Dürer 3898: 3785:. G. P. Putnam's sons. p. 214 3531: 3413:German, Flemish and Dutch Painting 3154: 3034:List of woodcuts by Albrecht Dürer 2699:Study of a Female Nude from Behind 2530:Portrait of Hieronymus Holzschuher 2123:Dürer's study of human proportions 2109:multiview orthographic projections 1740:, as well as the inclusion of the 1709:from whom Dürer received Luther's 1656:The Four Books on Human Proportion 1601:beside him. This last great work, 1541:Final years, Nuremberg (1521–1528) 618:First journey to Italy (1494–1495) 316:, and from 1512 was patronized by 25: 7452: 7004:I quattro libri dell'architettura 6027:Albrecht Dürer the Elder (father) 5770:Saint Michael Fighting the Dragon 5235:Heilbrunn Timeline of Art History 5221:The Early Duerer Research Project 5124: 4745:Ralph Blumenthal (19 July 2001). 3804:Schäfer, Sandra (27 March 2019). 3269: 2872:Portrait of Willibald Pirckheimer 2653:Mary among a Multitude of Animals 2564:, 36.8 × 26.9 cm, 2310:National Art Museum of Azerbaijan 1744:cup, an expression of Protestant 1114:(1508, for Frederick of Saxony), 679:including secular scenes such as 7283: 7282: 6528:Self-portrait in a Convex Mirror 6212: 5754:The Holy Family with Three Hares 5564: 5491:Portrait of Emperor Maximilian I 5483:Virgin and Child with Saint Anne 5350:Portrait of Dürer's Father at 70 5203:Works by or about Albrecht Dürer 5095:Architecture and the Unconscious 4625:The Beginnings of Modern Science 3930:. MIT Press. pp. 155, 258. 3732:The Engravings of Albrecht Dürer 3701:. Studio Editions. p. 261. 3472:Seeing Sodomy in the Middle Ages 3416:. Scribner and Welford. p. 3166:Longman Pronunciation Dictionary 3017: 2998: 2979: 2964: 2925: 2907:The Martyrdom of Saint Catherine 2899: 2879: 2864: 2849: 2827: 2809: 2805:Copper engravings and an etching 2789: 2770: 2744: 2737:Bibliothèque nationale de France 2725: 2710: 2691: 2667: 2645: 2621: 2596: 2573: 2543: 2521: 2499: 2480: 2458: 2437: 2416: 2393: 2372: 2351: 2325: 2116: 2100: 2080: 1991:. Here Dürer discusses the five 1912:Instructions for Measuring with 1800: 1241:The Triumphal Arch of Maximilian 1232:, Vienna (Inv. GG 825) 960: 943: 923: 902: 883: 860: 242: 223: 6054:Alte Pinakothek (Self-Portrait) 5514:Portrait of Bernhart von Reesen 5197:US National Library of Medicine 4849:Landau David; Parshall, Peter. 4738: 4721: 4709: 4684: 4681:, trans A. Rathau (Paris 1870). 4671: 4662: 4639: 4630: 4617: 4608: 4599: 4590: 4581: 4572: 4563: 4543: 4518: 4509: 4496: 4487: 4478: 4444: 4417:Nothaft, C. Philipp E. (2018). 4410: 4376: 4342: 4305: 4271: 4245: 4220: 4194: 4160: 4126: 4101: 4076: 4051: 4026: 4001: 3976: 3951: 3917: 3892: 3858: 3824: 3797: 3772: 3747: 3722: 3688: 3665: 3642: 3621: 3604: 3595: 3586: 3574: 3554: 3517: 3501: 3464: 3451: 3131: 3094: 3080: 3051: 2972:Four Horsemen of the Apocalypse 2604:Landscape with a Woodland Pool, 1811:needs additional citations for 1373:St. Stephen's Cathedral, Vienna 1090:(1515), National Gallery of Art 720:St. Michael Fighting the Dragon 670:Return to Nuremberg (1495–1505) 203: 81:Free Imperial City of Nuremberg 7239:National Museum of Mathematics 6991:Regole generali d'architettura 5688:Self-Portrait at the Age of 13 5069:Hart, Vaughan Anthony (2016). 5027:Of the Just Shaping of Letters 4693:Albrecht Dürer – Das Fechtbuch 4677:For a French translation, see 4318:. University Press. p. 27 3865:Smith, Jeffrey Chipps (2014). 3695:McCorquodale, Charles (1994). 3680:. Vol. 7 No. 3. Archived from 3618:. Retrieved 11 September 2020. 3390:Albrecht Dürer and his Legacy, 3310: 3206: 3181: 3057:Here he produced a woodcut of 2135:In 1527, Dürer also published 2026:Four Books on Human Proportion 2015:Four Books on Human Proportion 2004:Four Books on Human Proportion 1963:. In architecture Dürer cites 1169:Handbook of a Christian Knight 13: 1: 5985: 5946: 5931: 5794:Saint Sebastian at the Column 5654: 5631: 5616: 5601: 5586: 5503: 5467:Martyrdom of the Ten Thousand 5408: 5384: 5368: 5339: 5260:exhibition, Albertina, Vienna 5231:"Albrecht Dürer (1471–1528)". 5055:Heidelberg University Library 4777:Albrecht Dürer and His Legacy 3924:Merback, Mitchell B. (2017). 3039: 2949: 2942: 2910: 2838: 2817:Christ on the Mount of Olives 2755: 2656: 2634: 2606: 2554: 2381:Martyrdom of the Ten Thousand 2336: 1640:The Four Books on Measurement 1424:Museu Nacional de Arte Antiga 1111:Martyrdom of the Ten Thousand 973: 868: 779: 684: 7341:16th-century German painters 7331:15th-century German painters 6764:Garden of Cosmic Speculation 5546:Portrait of Johann Kleberger 5335:St. Jerome in the Wilderness 5112:, Dover Publications, 2000, 5014:Rhema Verlag, Münster 2012, 4014:. Inter Nationes. p. 25 3392:British Museum Press, 2002, 3148: 3118:. New York: Reynal and Co., 3116:The Complete Work of Raphael 2367:, Madrid (134 (1934.38) 404: 102:Nuremberg, Holy Roman Empire 7: 7406:German Renaissance painters 7361:Catholic decorative artists 5842:Knight, Death and the Devil 5248:20th Century Press Archives 5225:Germanisches Nationalmuseum 4997:Albrecht Dürer: A Biography 4451:Sauter, Michael J. (2018). 4349:Noflatscher, Heinz (2011). 4108:Nüchter, Friedrich (1911). 3902:Rare and Valuable Books ... 3583:, The J. Paul Getty Museum. 3114:; Golzio, Vincenzo (1969). 2987:The Expulsion from Paradise 2835:Nemesis (The Great Fortune) 2514:Gemäldegalerie Alte Meister 2430:Germanisches Nationalmuseum 2333:St Jerome in the Wilderness 1705:, Melanchthon, Erasmus and 1438:, who was to be crowned at 1159:Knight, Death and the Devil 916:Morgan Library & Museum 351:Knight, Death and the Devil 10: 7457: 6281:Islamic geometric patterns 6037:Anton Koberger (godfather) 5239:Metropolitan Museum of Art 4995:Campbell Hutchison, Jane. 4937:. Cologne: Taschen, 2010. 4898:Strauss, Walter L. (ed.). 4769: 3616:Metropolitan Museum of Art 3120:William Morrow and Company 3063:Epistolare beati Hieronymi 2797:Head of an 93-Year-Old Man 2782:Kupferstichkabinett Berlin 2551:Innsbruck Castle Courtyard 2315: 2175: 1554:Metropolitan Museum of Art 1188:chandeliers, combining an 7278: 7247: 7201: 7155: 7102:A Mathematician's Apology 7062: 7015: 6898: 6861: 6854: 6686: 6539: 6485: 6476: 6423: 6365: 6221: 6210: 6109: 6045: 6014: 5998: 5957:Wing of a European Roller 5900: 5858:Saint Jerome in His Study 5722: 5679: 5573: 5562: 5522:Saint Jerome in His Study 5303: 4948:Hoffmann, Rainer (2021). 4883:Price, David Hotchkiss. 4691:Haegedorn, Dierk (2021). 3983:Allen, L. Jessie (1903). 3831:Streissguth, Tom (2007). 3514:(November–December 2012). 3168:(3rd ed.), Longman, 2752:Self-Portrait in the Nude 2630:Wing of a European Roller 2365:Thyssen-Bornemisza Museum 2244:Giovanni Battista Palumba 2047:De harmonica mundi totius 1904:Four Books on Measurement 1791:Four Books on Measurement 1687:Dürer and the Reformation 1593:, and two panels showing 1294:and includes woodcuts by 1217:Patronage of Maximilian I 1192:with a wooden sculpture. 1162:(1513, probably based on 357:Saint Jerome in his Study 269:[ˈʔalbʁɛçtˈdyːʁɐ] 231: 222: 217: 213: 188: 174: 146: 125: 117: 107: 91: 62: 41: 34: 7214:The Bridges Organization 5882:Large Triumphal Carriage 5669:Adoration of the Trinity 5554:Portrait of Jakob Muffel 5499:Portrait of Jakob Fugger 5435:Christ Among the Doctors 4646:Durer, Albrecht (1528). 4278:Crane, Nicholas (2010). 4257:Mittelbayerische Zeitung 4228:"AlbrECHT DÜRER? (2022)" 4089:. AMS Press. p. 114 3757:Dürer: His Life and Work 3431:George Haggerty (2013). 3245:Müller, Peter O. (1993) 3191:(in German and French). 3044: 2402:Adoration of the Trinity 2386:Kunsthistorisches Museum 2360:Christ Among the Doctors 1280:The Triumphal Procession 1230:Kunsthistorisches Museum 1226:Portrait of Maximilian I 1195:In 1515, he created his 1125:Adoration of the Trinity 1120:Assumption of the Virgin 876:Art Institute of Chicago 517:and marriage (1490–1494) 373:Dürer's introduction of 7421:Manuscript illuminators 7076:The Grammar of Ornament 7028:Nature's Harmonic Unity 6938:De prospectiva pingendi 5597:Seven Sorrows Polyptych 5475:The Suicide of Lucretia 5212:Works by Albrecht Dürer 5143:Encyclopædia Britannica 5137:"Dürer, Albrecht" 4560:, Philadelphia, 85–205. 4556:, ed. Larry Silver and 4064:. Constable. p. 96 4033:Headlam, Cecil (1900). 3601:Panofsky (1945), p. 44. 3562:The Burlington Magazine 3164:Wells, John C. (2008), 3087:Crawford Luber (in her 2957:National Gallery of Art 2763:Klassik Stiftung Weimar 2581:View of the Arco Valley 2466:Portrait of Oswolt Krel 2302:Sitting Mary With Child 2287:Lucas Cranach the Elder 1595:St. John with St. Peter 1577:Hieronymus Holtzschuher 1419:St. Jerome in His Study 1354:National Gallery of Art 1312:Lucas Cranach the Elder 1198:woodcut of a Rhinoceros 1178:, and the much-debated 1175:St. Jerome in His Study 1118:(1508), the altarpiece 1004:National Gallery Prague 979:), brush, ink and gray 739:Frederick III of Saxony 734:Seven Sorrows Polyptych 7411:German Roman Catholics 7356:Artists from Nuremberg 7336:16th-century engravers 7326:15th-century engravers 7229:Institute For Figuring 7141:The 'Life' of a Carpet 6966:A Treatise on Painting 6006:Albrecht Dürer's House 5927:Madonna of the Animals 5612:Paumgartner Altarpiece 5193:Selected pages scanned 5108:Wilhelm, Kurth (ed.). 5047:blog.arthistoricum.net 4578:Price (2003), 225–248. 4173:. Brill. p. 305. 4036:The Story of Nuremberg 3989:. Methuen. p. 180 3754:Brion, Marcel (1960). 3112:Castagnoli, Ferdinando 2733:Three Children's Heads 2189: 2164: 2046: 2017: 2013:Illustration from the 1940: 1778: 1683: 1677:Albrecht Dürer's House 1599:St. Paul with St. Mark 1562: 1557: 1427: 1357: 1244: 1233: 1091: 1078: 1039:Feast of Rose Garlands 1019:Paumgartner altarpiece 1006: 710: 648:Antonio del Pollaiuolo 597: 544: 429: 410:Early life (1471–1490) 7436:Renaissance engravers 7110:George David Birkhoff 7084:Ernest Hanbury Hankin 6952:De divina proportione 6932:Piero della Francesca 6911:Leon Battista Alberti 6498:Piero della Francesca 6137:Hyperboloid structure 5419:Adoration of the Magi 5403:Lamentation of Christ 5379:Lamentation of Christ 5364:Lot and His Daughters 5170:Dürer Prints Close-up 4917:Borchert, Till-Holger 4851:The Renaissance Print 4668:Panofsky (1945), 283. 4636:Panofsky (1945), 255. 4524:Panofsky (1945), 223. 4515:Panofsky (1945), 209. 4493:Borchert (2011), 101. 4284:. Orion. p. 74. 3729:Cust, Lionel (1905). 3592:Panofsky (1945), 135. 3249:, Walter de Gruyter. 3073:style" of Koberger's 2821:Bamberg State Library 2705:, Paris (INV 19058 R) 2183: 2143:). It was printed in 2130:Book on Fortification 2012: 1726:sympathies. His 1523 1675: 1622:, elector of Saxony; 1612:Willibald Pirckheimer 1548: 1416: 1348: 1239: 1224: 1201:which had arrived in 1084: 1071: 1060:and taken to Prague. 1024:Adoration of the Magi 996: 700: 607:Willibald Pirckheimer 595: 525:The earliest painted 524: 417: 7426:Mathematical artists 7391:German male painters 7035:Frederik Macody Lund 6906:Filippo Brunelleschi 6787:Hamid Naderi Yeganeh 6649:La condition humaine 6032:Hans Dürer (brother) 5427:Bagnacavallo Madonna 5176:, made to accompany 5158:14 July 2015 at the 4558:Jeffrey Chipps Smith 4133:Carl, Klaus (2013). 3684:on 11 November 2022. 3490:, Penn State Press. 3294:Heaton, Mrs. Charles 3122:. pp. 278, 407. 2388:, Wien (GG 835) 2256:Marcantonio Raimondi 2254:), or whole prints ( 2213:Legacy and influence 2042:Francesco di Giorgio 1820:improve this article 1712:Babylonian Captivity 1628:Erasmus of Rotterdam 1302:, as well as Dürer. 1285:Marx Treitz-Saurwein 1116:Virgin with the Iris 1047:Emperor Maximilian I 800:The Venetian artist 391:Northern Renaissance 179:Northern Renaissance 7260:Mathematical beauty 7185:Rhythm of Structure 7128:Gödel, Escher, Bach 6924:De re aedificatoria 6555:The Ancient of Days 6174:Projective geometry 6103:Mathematics and art 5919:Great Piece of Turf 5890:Portrait of Erasmus 5712:Self-Portrait at 28 5704:Self-Portrait at 26 5642:Feast of the Rosary 5010:Demele, Christine. 4952:(in German). Wien. 4832:Koerner, Joseph Leo 4790:Brand Philip, Lotte 4554:The Essential Dürer 4086:The Southern Review 3782:Schools of Painting 3075:Lives of the Saints 2677:, 1526, gouache on 2509:Bernhard von Reesen 2432:Nuremberg (Gm 1160) 2321:Religious paintings 2274:from 1870 to 1945. 2203:Berlin Picture Book 2095:signature of artist 1995:, as well as seven 1930:. He also draws on 1624:Philipp Melanchthon 1614:, Cardinal-Elector 1564:sacra conversazione 1504:Margaret of Austria 1405:throughout Europe. 1271:Hieronymous Andreae 1034:Feast of the Rosary 999:Feast of the Rosary 952:Large Piece of Turf 849:Great Piece of Turf 703:self-portrait at 28 503:Nuremberg Chronicle 51:Self-portrait at 26 7401:German printmakers 7376:German draughtsmen 7366:Catholic engravers 7265:Patterns in nature 7122:Douglas Hofstadter 6748:Desmond Paul Henry 6738:Bathsheba Grossman 6670:The Swallow's Tail 6591:Giorgio de Chirico 6463:Sydney Opera House 6318:Croatian interlace 6022:Agnes Dürer (wife) 5826:Life of the Virgin 5662:Matthias Grünewald 5582:Dresden Altarpiece 4904:Dover Publications 4887:. Michigan, 2003. 4605:Price (2003), 254. 4569:Price (2003), 225. 3488:The Rainbow Bridge 3280:Bartrum, 93, n. 1. 2560:, watercolour and 2260:Agostino Veneziano 2252:Cristofano Robetta 2248:Benedetto Montagna 2190: 2018: 1707:Cornelius Grapheus 1684: 1620:Frederick the Wise 1558: 1484:(where he admired 1428: 1358: 1296:Albrecht Altdorfer 1254:The Triumphal Arch 1245: 1234: 1134:Life of the Virgin 1092: 1079: 1007: 802:Jacopo de' Barbari 744:Life of the Virgin 737:, commissioned by 711: 598: 545: 492:Dürer's godfather 430: 395:linear perspective 290:German Renaissance 7441:Woodcut designers 7371:Catholic painters 7298: 7297: 7151: 7150: 7115:Aesthetic Measure 6986:Sebastiano Serlio 6960:Leonardo da Vinci 6850: 6849: 6842:Margaret Wertheim 6503:Leonardo da Vinci 6069: 6068: 6057:(2000 photograph) 5650:Heller Altarpiece 5627:Jabach Altarpiece 5530:The Four Apostles 5312:List of paintings 5216:Project Gutenberg 5189:(Nuremberg, 1528) 5103:978-1-4724-5647-2 5025:Dürer, Albrecht, 5020:978-3-8688-7008-4 4959:978-3-412-52385-5 4943:978-3-8365-1348-7 4929:978-0-500-23883-7 4893:978-0-4721-1343-9 4812:Thames and Hudson 4794:Anzelewsky, Fedja 4775:Bartrum, Giulia. 4702:978-3-932077-50-0 4464:978-0-8122-9555-9 4430:978-0-19-252018-0 4396:978-0-521-80040-2 4362:978-3-7065-4951-6 4291:978-0-297-86539-1 4180:978-90-04-14221-3 4146:978-1-78160-625-4 3937:978-1-942130-00-0 3878:978-1-4773-0638-3 3844:978-0-7377-3216-0 3708:978-1-85891-892-1 3444:978-1-135-58513-6 3330:Brion (1960), 16. 3139:a portrait of her 3108:Becatti, Giovanni 2566:Albertina, Vienna 2346:, London (NG6563) 2298:Women's Bathhouse 2268:Dürer Renaissance 2240:Giulio Campagnola 2107:Dürer often used 2022:human proportions 1977:Italian precedent 1896: 1895: 1888: 1870: 1760:Theoretical works 1703:Andreas Karlstadt 1604:the Four Apostles 1582:Madonna and Child 1508:Bernard van Orley 1477:Madonna of Bruges 1300:Hans Springinklee 1207:Indian rhinoceros 1181:Melencolia I 1077:(1514), engraving 937:Albertina, Vienna 787:Pond in the Woods 674:On his return to 583:Nikolaus Gerhaert 559:Martin Schongauer 475:Albertina, Vienna 473:, is dated 1484 ( 368:landscape artists 314:Leonardo da Vinci 235: 234: 85:Holy Roman Empire 16:(Redirected from 7448: 7416:Heraldic artists 7386:German Lutherans 7381:German engravers 7286: 7285: 7136:Nikos Salingaros 6859: 6858: 6827:Hiroshi Sugimoto 6777:Robert Longhurst 6723:Helaman Ferguson 6678:Crockett Johnson 6607:Circle Limit III 6576:Danseuse au café 6483: 6482: 6453:Pyramid of Khufu 6216: 6096: 6089: 6082: 6073: 6072: 5990: 5987: 5973:Head of a Walrus 5951: 5948: 5936: 5933: 5778:The Four Witches 5733:List of woodcuts 5659: 5656: 5636: 5633: 5621: 5618: 5606: 5603: 5592:–1497/1503–1504) 5591: 5588: 5568: 5508: 5505: 5413: 5410: 5389: 5386: 5373: 5370: 5344: 5341: 5290: 5283: 5276: 5267: 5266: 5207:Internet Archive 5185:Albrecht Dürer: 5147: 5139: 5090: 5065: 5063: 5061: 4985: 4979: 4971: 4826:The Art Bulletin 4764: 4763: 4761: 4759: 4742: 4736: 4735: 4733: 4725: 4719: 4713: 4707: 4706: 4688: 4682: 4675: 4669: 4666: 4660: 4659: 4657: 4655: 4643: 4637: 4634: 4628: 4621: 4615: 4614:Harbison (1976). 4612: 4606: 4603: 4597: 4594: 4588: 4587:Wolf (2010), 74. 4585: 4579: 4576: 4570: 4567: 4561: 4547: 4541: 4540:Panofsky (1945). 4538: 4525: 4522: 4516: 4513: 4507: 4500: 4494: 4491: 4485: 4482: 4476: 4475: 4473: 4471: 4448: 4442: 4441: 4439: 4437: 4414: 4408: 4407: 4405: 4403: 4380: 4374: 4373: 4371: 4369: 4346: 4340: 4334: 4328: 4327: 4325: 4323: 4309: 4303: 4302: 4300: 4298: 4275: 4269: 4268: 4266: 4264: 4249: 4243: 4242: 4240: 4238: 4224: 4218: 4217: 4215: 4213: 4198: 4192: 4191: 4189: 4187: 4164: 4158: 4157: 4155: 4153: 4130: 4124: 4123: 4121: 4119: 4105: 4099: 4098: 4096: 4094: 4080: 4074: 4073: 4071: 4069: 4055: 4049: 4048: 4046: 4044: 4030: 4024: 4023: 4021: 4019: 4005: 3999: 3998: 3996: 3994: 3980: 3974: 3973: 3971: 3969: 3955: 3949: 3948: 3946: 3944: 3921: 3915: 3914: 3912: 3910: 3896: 3890: 3889: 3887: 3885: 3862: 3856: 3855: 3853: 3851: 3828: 3822: 3821: 3819: 3817: 3801: 3795: 3794: 3792: 3790: 3776: 3770: 3769: 3767: 3765: 3751: 3745: 3744: 3742: 3740: 3726: 3720: 3719: 3717: 3715: 3692: 3686: 3685: 3669: 3663: 3662: 3646: 3640: 3627:Tatlock, Lynne. 3625: 3619: 3608: 3602: 3599: 3593: 3590: 3584: 3581:Giovanni Bellini 3578: 3572: 3558: 3552: 3538: 3529: 3528: 3521: 3515: 3505: 3499: 3484: 3475: 3468: 3462: 3457:Brisman, Shira, 3455: 3449: 3448: 3428: 3422: 3421: 3407: 3401: 3383: 3356: 3346: 3340: 3337: 3331: 3328: 3322: 3321: 3314: 3308: 3307: 3290: 3281: 3278: 3267: 3264: 3258: 3243: 3232: 3231: 3229: 3227: 3210: 3204: 3203: 3201: 3199: 3185: 3179: 3178: 3161: 3142: 3135: 3129: 3126:Giovanni Bellini 3124:Dürer describes 3123: 3098: 3092: 3084: 3078: 3055: 3002: 2983: 2968: 2954: 2953: 1498–1500 2951: 2947: 2944: 2933:The Flagellation 2929: 2915: 2912: 2903: 2883: 2868: 2853: 2843: 2840: 2831: 2813: 2793: 2774: 2760: 2757: 2748: 2729: 2714: 2695: 2675:Tuft of Cowslips 2671: 2661: 2658: 2649: 2639: 2636: 2625: 2611: 2608: 2600: 2577: 2559: 2556: 2547: 2525: 2516:, Dresden (1871) 2503: 2484: 2462: 2441: 2420: 2404:(Landauer Altar) 2397: 2376: 2355: 2344:National Gallery 2341: 2338: 2329: 2235:Lucas van Leyden 2167: 2120: 2104: 2084: 2049: 2020:Dürer's work on 1943: 1898:Dürer's work on 1891: 1884: 1880: 1877: 1871: 1869: 1835:"Albrecht Dürer" 1828: 1804: 1796: 1781: 1694:Nicholas Kratzer 1667:Bernhard Walther 1567: 1528:Tommaso Vincidor 1516:Gerard Horenbout 1491:Ghent Altarpiece 1464:'s-Hertogenbosch 1400: 1392:Konrad Heinfogel 1385:Johannes Stabius 1370: 1328:Konrad Peutinger 1324:Johannes Stabius 1293: 1277:was followed by 1267:Johannes Stabius 978: 975: 964: 947: 927: 906: 891:The Prodigal Son 887: 873: 870: 867:The Men's Bath, 864: 784: 781: 731:and saints. The 689: 686: 652:Lorenzo di Credi 644:Giovanni Bellini 640:Housebook Master 498:printing-presses 467:Michael Wolgemut 399:body proportions 387:German humanists 375:classical motifs 348:(master prints) 310:Fra Luca Pacioli 306:Giovanni Bellini 271: 266: 262: 261: 258: 257: 254: 251: 248: 227: 207: 205: 183:High Renaissance 149: 118:Other names 98: 72: 70: 46: 32: 31: 21: 7456: 7455: 7451: 7450: 7449: 7447: 7446: 7445: 7301: 7300: 7299: 7294: 7274: 7270:Sacred geometry 7243: 7209:Ars Mathematica 7197: 7147: 7058: 7011: 6998:Andrea Palladio 6894: 6887:De architectura 6846: 6802:Antoine Pevsner 6782:Jeanette McLeod 6733:Susan Goldstine 6682: 6541: 6535: 6472: 6458:Sagrada Família 6419: 6361: 6229:Algorithmic art 6217: 6208: 6204:Wallpaper group 6142:Minimal surface 6105: 6100: 6070: 6065: 6041: 6010: 5994: 5988: 5949: 5934: 5902: 5896: 5786:The Sea Monster 5724: 5718: 5691:(drawing, 1484) 5675: 5657: 5634: 5619: 5604: 5589: 5569: 5560: 5506: 5411: 5387: 5371: 5342: 5299: 5294: 5258:Albrecht Dürer, 5160:Wayback Machine 5127: 5059: 5057: 4992: 4990:Further reading 4973: 4972: 4960: 4933:Wolf, Norbert. 4865:Panofsky, Erwin 4818:Harbison, Craig 4772: 4767: 4757: 4755: 4743: 4739: 4731: 4727: 4726: 4722: 4716:Lutheranism 101 4714: 4710: 4703: 4689: 4685: 4676: 4672: 4667: 4663: 4653: 4651: 4644: 4640: 4635: 4631: 4622: 4618: 4613: 4609: 4604: 4600: 4595: 4591: 4586: 4582: 4577: 4573: 4568: 4564: 4548: 4544: 4539: 4528: 4523: 4519: 4514: 4510: 4501: 4497: 4492: 4488: 4483: 4479: 4469: 4467: 4465: 4449: 4445: 4435: 4433: 4431: 4415: 4411: 4401: 4399: 4397: 4381: 4377: 4367: 4365: 4363: 4347: 4343: 4335: 4331: 4321: 4319: 4310: 4306: 4296: 4294: 4292: 4276: 4272: 4262: 4260: 4251: 4250: 4246: 4236: 4234: 4226: 4225: 4221: 4211: 4209: 4199: 4195: 4185: 4183: 4181: 4165: 4161: 4151: 4149: 4147: 4131: 4127: 4117: 4115: 4106: 4102: 4092: 4090: 4081: 4077: 4067: 4065: 4056: 4052: 4042: 4040: 4031: 4027: 4017: 4015: 4006: 4002: 3992: 3990: 3981: 3977: 3967: 3965: 3956: 3952: 3942: 3940: 3938: 3922: 3918: 3908: 3906: 3897: 3893: 3883: 3881: 3879: 3863: 3859: 3849: 3847: 3845: 3834:The Renaissance 3829: 3825: 3815: 3813: 3802: 3798: 3788: 3786: 3777: 3773: 3763: 3761: 3752: 3748: 3738: 3736: 3727: 3723: 3713: 3711: 3709: 3693: 3689: 3670: 3666: 3647: 3643: 3626: 3622: 3609: 3605: 3600: 3596: 3591: 3587: 3579: 3575: 3559: 3555: 3542:Master Drawings 3539: 3532: 3523: 3522: 3518: 3506: 3502: 3485: 3478: 3470:Mills, Robert, 3469: 3465: 3456: 3452: 3445: 3429: 3425: 3408: 3404: 3384: 3359: 3347: 3343: 3338: 3334: 3329: 3325: 3316: 3315: 3311: 3291: 3284: 3279: 3270: 3265: 3261: 3244: 3235: 3225: 3223: 3212: 3211: 3207: 3197: 3195: 3187: 3186: 3182: 3176: 3162: 3155: 3151: 3146: 3145: 3136: 3132: 3099: 3095: 3085: 3081: 3056: 3052: 3047: 3042: 3020: 3013: 3003: 2994: 2984: 2975: 2969: 2960: 2952: 2945: 2930: 2921: 2913: 2904: 2890: 2884: 2875: 2869: 2860: 2857:St. Christopher 2854: 2845: 2841: 2832: 2823: 2814: 2800: 2794: 2785: 2775: 2766: 2758: 2749: 2740: 2730: 2721: 2715: 2706: 2696: 2682: 2672: 2663: 2659: 2650: 2641: 2637: 2626: 2617: 2609: 2601: 2592: 2578: 2569: 2557: 2548: 2534: 2526: 2517: 2504: 2495: 2485: 2476: 2470:Alte Pinakothek 2463: 2454: 2442: 2433: 2421: 2407: 2398: 2389: 2377: 2368: 2356: 2347: 2339: 2330: 2318: 2279:Lutheran Church 2215: 2195:Nuremberg Group 2178: 2165:trace italienne 2133: 2124: 2121: 2112: 2105: 2096: 2085: 2056:concave mirrors 2007: 1993:Platonic solids 1981:Gothic alphabet 1936:Johannes Werner 1892: 1881: 1875: 1872: 1829: 1827: 1817: 1805: 1794: 1768:rather than in 1766:German language 1762: 1729:The Last Supper 1689: 1663:His large house 1630:. For those of 1616:Albert of Mainz 1543: 1524:Joachim Patinir 1411: 1394: 1381: 1364: 1287: 1219: 1066: 991: 984: 976: 965: 956: 948: 939: 928: 919: 907: 898: 888: 879: 871: 865: 855: 846:(1502) and the 782: 772:The Sea Monster 707:Alte Pinakothek 687: 672: 656:Andrea Mantegna 620: 519: 412: 407: 383:Italian artists 276:, was a German 264: 245: 241: 209: 206: 1494) 201: 197: 170: 147: 142: 103: 100: 96: 87: 74: 68: 66: 58: 37: 28: 23: 22: 15: 12: 11: 5: 7454: 7444: 7443: 7438: 7433: 7428: 7423: 7418: 7413: 7408: 7403: 7398: 7393: 7388: 7383: 7378: 7373: 7368: 7363: 7358: 7353: 7351:Artist authors 7348: 7346:Animal artists 7343: 7338: 7333: 7328: 7323: 7318: 7313: 7311:Albrecht Dürer 7296: 7295: 7293: 7292: 7279: 7276: 7275: 7273: 7272: 7267: 7262: 7257: 7251: 7249: 7245: 7244: 7242: 7241: 7236: 7231: 7226: 7221: 7216: 7211: 7205: 7203: 7199: 7198: 7196: 7195: 7188: 7181: 7174: 7167: 7159: 7157: 7153: 7152: 7149: 7148: 7146: 7145: 7144: 7143: 7133: 7132: 7131: 7119: 7118: 7117: 7107: 7106: 7105: 7093: 7092: 7091: 7081: 7080: 7079: 7066: 7064: 7060: 7059: 7057: 7056: 7055: 7054: 7052:The Greek Vase 7044: 7043: 7042: 7032: 7031: 7030: 7019: 7017: 7013: 7012: 7010: 7009: 7008: 7007: 6995: 6994: 6993: 6983: 6982: 6981: 6974:Albrecht Dürer 6971: 6970: 6969: 6957: 6956: 6955: 6943: 6942: 6941: 6929: 6928: 6927: 6920: 6908: 6902: 6900: 6896: 6895: 6893: 6892: 6891: 6890: 6878: 6877: 6876: 6865: 6863: 6856: 6852: 6851: 6848: 6847: 6845: 6844: 6839: 6837:Roman Verostko 6834: 6829: 6824: 6819: 6814: 6812:Alba Rojo Cama 6809: 6804: 6799: 6794: 6789: 6784: 6779: 6774: 6769: 6768: 6767: 6758:Charles Jencks 6755: 6750: 6745: 6743:George W. Hart 6740: 6735: 6730: 6725: 6720: 6715: 6710: 6705: 6696: 6690: 6688: 6684: 6683: 6681: 6680: 6675: 6674: 6673: 6666: 6654: 6653: 6652: 6640: 6639: 6638: 6631: 6624: 6617: 6610: 6598: 6593: 6588: 6587: 6586: 6579: 6570:Jean Metzinger 6567: 6566: 6565: 6558: 6545: 6543: 6537: 6536: 6534: 6533: 6532: 6531: 6519: 6517:Albrecht Dürer 6514: 6513: 6512: 6500: 6495: 6489: 6487: 6480: 6474: 6473: 6471: 6470: 6465: 6460: 6455: 6450: 6445: 6440: 6435: 6429: 6427: 6421: 6420: 6418: 6417: 6410: 6403: 6396: 6389: 6382: 6375: 6369: 6367: 6363: 6362: 6360: 6359: 6354: 6349: 6344: 6343: 6342: 6332: 6327: 6326: 6325: 6320: 6315: 6305: 6304: 6303: 6298: 6293: 6288: 6278: 6273: 6268: 6263: 6258: 6257: 6256: 6251: 6246: 6236: 6234:Anamorphic art 6231: 6225: 6223: 6219: 6218: 6211: 6209: 6207: 6206: 6201: 6196: 6191: 6190: 6189: 6184: 6176: 6171: 6166: 6165: 6164: 6162:Camera obscura 6159: 6149: 6144: 6139: 6134: 6129: 6124: 6119: 6113: 6111: 6107: 6106: 6099: 6098: 6091: 6084: 6076: 6067: 6066: 6064: 6063: 6061:Dürer (crater) 6058: 6049: 6047: 6043: 6042: 6040: 6039: 6034: 6029: 6024: 6018: 6016: 6012: 6011: 6009: 6008: 6002: 6000: 5996: 5995: 5993: 5992: 5977: 5969: 5961: 5953: 5938: 5923: 5915: 5906: 5904: 5898: 5897: 5895: 5894: 5886: 5878: 5870: 5866:Triumphal Arch 5862: 5854: 5846: 5838: 5830: 5822: 5814: 5806: 5798: 5790: 5782: 5774: 5766: 5758: 5750: 5742: 5728: 5726: 5720: 5719: 5717: 5716: 5708: 5700: 5692: 5683: 5681: 5680:Self-portraits 5677: 5676: 5674: 5673: 5665: 5646: 5638: 5623: 5608: 5593: 5577: 5575: 5571: 5570: 5563: 5561: 5559: 5558: 5550: 5542: 5534: 5526: 5518: 5510: 5495: 5487: 5479: 5471: 5463: 5455: 5447: 5439: 5431: 5423: 5415: 5399: 5391: 5375: 5358:Haller Madonna 5354: 5346: 5331: 5323: 5315: 5307: 5305: 5301: 5300: 5297:Albrecht Dürer 5293: 5292: 5285: 5278: 5270: 5264: 5263: 5254: 5241: 5228: 5218: 5209: 5200: 5182: 5181: 5180: 5148: 5132:Colvin, Sidney 5126: 5125:External links 5123: 5122: 5121: 5106: 5091: 5066: 5038: 5023: 5008: 5005:0-6-910-0297-5 4991: 4988: 4987: 4986: 4958: 4945: 4935:Albrecht Dürer 4931: 4914: 4902:. Mineola NY: 4896: 4881: 4862: 4853:. Yale, 1996. 4847: 4844:978-0226449999 4829: 4815: 4801: 4787: 4771: 4768: 4766: 4765: 4752:New York Times 4737: 4720: 4708: 4701: 4695:. VST Verlag. 4683: 4670: 4661: 4638: 4629: 4616: 4607: 4598: 4596:Strauss, 1981. 4589: 4580: 4571: 4562: 4550:Corine Schleif 4542: 4526: 4517: 4508: 4495: 4486: 4477: 4463: 4443: 4429: 4409: 4395: 4375: 4361: 4341: 4329: 4304: 4290: 4270: 4244: 4219: 4193: 4179: 4159: 4145: 4125: 4100: 4075: 4050: 4025: 4000: 3986:Albrecht Dürer 3975: 3950: 3936: 3916: 3891: 3877: 3857: 3843: 3823: 3796: 3771: 3746: 3721: 3707: 3687: 3664: 3649:Ridpath, Ian. 3641: 3620: 3603: 3594: 3585: 3573: 3553: 3530: 3516: 3500: 3476: 3463: 3450: 3443: 3423: 3402: 3386:Giulia Bartrum 3357: 3349:Joseph Koerner 3341: 3332: 3323: 3309: 3282: 3268: 3259: 3233: 3205: 3180: 3175:978-1405881180 3174: 3152: 3150: 3147: 3144: 3143: 3130: 3093: 3079: 3067:Erwin Panofsky 3049: 3048: 3046: 3043: 3041: 3038: 3037: 3036: 3031: 3026: 3019: 3016: 3015: 3014: 3004: 2997: 2995: 2985: 2978: 2976: 2970: 2963: 2961: 2931: 2924: 2922: 2905: 2898: 2896: 2895:Woodcut prints 2892: 2891: 2885: 2878: 2876: 2870: 2863: 2861: 2855: 2848: 2846: 2833: 2826: 2824: 2815: 2808: 2806: 2802: 2801: 2795: 2788: 2786: 2776: 2769: 2767: 2750: 2743: 2741: 2731: 2724: 2722: 2718:Reclining Nude 2716: 2709: 2707: 2697: 2690: 2688: 2684: 2683: 2673: 2666: 2664: 2651: 2644: 2642: 2627: 2620: 2618: 2614:British Museum 2602: 2595: 2593: 2579: 2572: 2570: 2549: 2542: 2540: 2536: 2535: 2527: 2520: 2518: 2505: 2498: 2496: 2492:Gemäldegalerie 2486: 2479: 2477: 2464: 2457: 2455: 2443: 2436: 2434: 2422: 2415: 2413: 2409: 2408: 2399: 2392: 2390: 2378: 2371: 2369: 2357: 2350: 2348: 2331: 2324: 2322: 2317: 2314: 2291:Hans Burgkmair 2231:Little Masters 2214: 2211: 2184:Page from the 2177: 2174: 2132: 2127: 2126: 2125: 2122: 2115: 2113: 2106: 2099: 2097: 2087:Title page of 2086: 2079: 2024:is called the 2006: 2001: 1973:Latin alphabet 1902:is called the 1894: 1893: 1808: 1806: 1799: 1793: 1788: 1779:Schneckenlinie 1761: 1758: 1688: 1685: 1589:Salvator Mundi 1550:Salvator Mundi 1542: 1539: 1532:Quentin Matsys 1470:(where he saw 1456:Stefan Lochner 1410: 1407: 1380: 1377: 1362:August Siegert 1218: 1215: 1186:Lusterweibchen 1149:Little Passion 1065: 1062: 1043:Pope Julius II 1029:San Bartolomeo 990: 987: 986: 985: 966: 959: 957: 949: 942: 940: 929: 922: 920: 908: 901: 899: 889: 882: 880: 866: 859: 764:Giorgio Vasari 681:The Men's Bath 671: 668: 666:on this trip. 619: 616: 612:The Men's Bath 518: 512: 494:Anton Koberger 411: 408: 406: 403: 298:woodcut prints 238:Albrecht Dürer 233: 232: 229: 228: 220: 219: 215: 214: 211: 210: 199: 193: 192: 190: 186: 185: 176: 172: 171: 169: 168: 163: 158: 152: 150: 144: 143: 141: 140: 135: 129: 127: 126:Known for 123: 122: 119: 115: 114: 109: 105: 104: 101: 99:(aged 56) 93: 89: 88: 75: 64: 60: 59: 47: 39: 38: 36:Albrecht Dürer 35: 26: 9: 6: 4: 3: 2: 7453: 7442: 7439: 7437: 7434: 7432: 7429: 7427: 7424: 7422: 7419: 7417: 7414: 7412: 7409: 7407: 7404: 7402: 7399: 7397: 7394: 7392: 7389: 7387: 7384: 7382: 7379: 7377: 7374: 7372: 7369: 7367: 7364: 7362: 7359: 7357: 7354: 7352: 7349: 7347: 7344: 7342: 7339: 7337: 7334: 7332: 7329: 7327: 7324: 7322: 7319: 7317: 7314: 7312: 7309: 7308: 7306: 7291: 7290: 7281: 7280: 7277: 7271: 7268: 7266: 7263: 7261: 7258: 7256: 7255:Droste effect 7253: 7252: 7250: 7246: 7240: 7237: 7235: 7234:Mathemalchemy 7232: 7230: 7227: 7225: 7222: 7220: 7217: 7215: 7212: 7210: 7207: 7206: 7204: 7202:Organizations 7200: 7194: 7193: 7189: 7187: 7186: 7182: 7180: 7179: 7175: 7173: 7172: 7171:Lumen Naturae 7168: 7166: 7165: 7161: 7160: 7158: 7154: 7142: 7139: 7138: 7137: 7134: 7130: 7129: 7125: 7124: 7123: 7120: 7116: 7113: 7112: 7111: 7108: 7104: 7103: 7099: 7098: 7097: 7094: 7090: 7087: 7086: 7085: 7082: 7078: 7077: 7073: 7072: 7071: 7068: 7067: 7065: 7061: 7053: 7050: 7049: 7048: 7045: 7041: 7038: 7037: 7036: 7033: 7029: 7026: 7025: 7024: 7023:Samuel Colman 7021: 7020: 7018: 7014: 7006: 7005: 7001: 7000: 6999: 6996: 6992: 6989: 6988: 6987: 6984: 6980: 6977: 6976: 6975: 6972: 6968: 6967: 6963: 6962: 6961: 6958: 6954: 6953: 6949: 6948: 6947: 6944: 6940: 6939: 6935: 6934: 6933: 6930: 6926: 6925: 6921: 6919: 6918: 6914: 6913: 6912: 6909: 6907: 6904: 6903: 6901: 6897: 6889: 6888: 6884: 6883: 6882: 6879: 6875: 6872: 6871: 6870: 6867: 6866: 6864: 6860: 6857: 6853: 6843: 6840: 6838: 6835: 6833: 6832:Daina Taimiņa 6830: 6828: 6825: 6823: 6820: 6818: 6817:Reza Sarhangi 6815: 6813: 6810: 6808: 6805: 6803: 6800: 6798: 6795: 6793: 6790: 6788: 6785: 6783: 6780: 6778: 6775: 6773: 6770: 6766: 6765: 6761: 6760: 6759: 6756: 6754: 6751: 6749: 6746: 6744: 6741: 6739: 6736: 6734: 6731: 6729: 6728:Peter Forakis 6726: 6724: 6721: 6719: 6716: 6714: 6711: 6709: 6706: 6704: 6700: 6697: 6695: 6692: 6691: 6689: 6685: 6679: 6676: 6672: 6671: 6667: 6665: 6664: 6660: 6659: 6658: 6657:Salvador Dalí 6655: 6651: 6650: 6646: 6645: 6644: 6643:René Magritte 6641: 6637: 6636: 6632: 6630: 6629: 6625: 6623: 6622: 6618: 6616: 6615: 6614:Print Gallery 6611: 6609: 6608: 6604: 6603: 6602: 6599: 6597: 6594: 6592: 6589: 6585: 6584: 6583:L'Oiseau bleu 6580: 6578: 6577: 6573: 6572: 6571: 6568: 6564: 6563: 6559: 6557: 6556: 6552: 6551: 6550: 6549:William Blake 6547: 6546: 6544: 6538: 6530: 6529: 6525: 6524: 6523: 6520: 6518: 6515: 6511: 6510: 6509:Vitruvian Man 6506: 6505: 6504: 6501: 6499: 6496: 6494: 6493:Paolo Uccello 6491: 6490: 6488: 6484: 6481: 6479: 6475: 6469: 6466: 6464: 6461: 6459: 6456: 6454: 6451: 6449: 6446: 6444: 6441: 6439: 6436: 6434: 6431: 6430: 6428: 6426: 6422: 6416: 6415: 6414:Pi in the Sky 6411: 6409: 6408: 6404: 6402: 6401: 6397: 6395: 6394: 6390: 6388: 6387: 6386:Mathemalchemy 6383: 6381: 6380: 6376: 6374: 6371: 6370: 6368: 6364: 6358: 6355: 6353: 6350: 6348: 6345: 6341: 6338: 6337: 6336: 6333: 6331: 6328: 6324: 6321: 6319: 6316: 6314: 6311: 6310: 6309: 6306: 6302: 6299: 6297: 6294: 6292: 6289: 6287: 6284: 6283: 6282: 6279: 6277: 6274: 6272: 6269: 6267: 6264: 6262: 6259: 6255: 6254:Vastu shastra 6252: 6250: 6247: 6245: 6244:Geodesic dome 6242: 6241: 6240: 6237: 6235: 6232: 6230: 6227: 6226: 6224: 6220: 6215: 6205: 6202: 6200: 6197: 6195: 6192: 6188: 6185: 6183: 6180: 6179: 6177: 6175: 6172: 6170: 6169:Plastic ratio 6167: 6163: 6160: 6158: 6157:Camera lucida 6155: 6154: 6153: 6150: 6148: 6145: 6143: 6140: 6138: 6135: 6133: 6130: 6128: 6125: 6123: 6120: 6118: 6115: 6114: 6112: 6108: 6104: 6097: 6092: 6090: 6085: 6083: 6078: 6077: 6074: 6062: 6059: 6056: 6055: 6051: 6050: 6048: 6044: 6038: 6035: 6033: 6030: 6028: 6025: 6023: 6020: 6019: 6017: 6013: 6007: 6004: 6003: 6001: 5997: 5983: 5982: 5978: 5975: 5974: 5970: 5967: 5966: 5962: 5959: 5958: 5954: 5944: 5943: 5942:Praying Hands 5939: 5929: 5928: 5924: 5921: 5920: 5916: 5913: 5912: 5908: 5907: 5905: 5899: 5892: 5891: 5887: 5884: 5883: 5879: 5876: 5875: 5871: 5868: 5867: 5863: 5860: 5859: 5855: 5852: 5851: 5847: 5844: 5843: 5839: 5836: 5835: 5834:Small Passion 5831: 5828: 5827: 5823: 5820: 5819: 5818:Great Passion 5815: 5812: 5811: 5807: 5804: 5803: 5799: 5796: 5795: 5791: 5788: 5787: 5783: 5780: 5779: 5775: 5772: 5771: 5767: 5764: 5763: 5759: 5756: 5755: 5751: 5748: 5747: 5743: 5741: 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relying on 1974: 1970: 1966: 1962: 1958: 1954: 1950: 1945: 1942: 1937: 1933: 1929: 1925: 1921: 1917: 1915: 1909: 1905: 1901: 1890: 1887: 1879: 1868: 1865: 1861: 1858: 1854: 1851: 1847: 1844: 1840: 1837: – 1836: 1832: 1831:Find sources: 1825: 1821: 1815: 1814: 1809:This section 1807: 1803: 1798: 1797: 1792: 1787: 1785: 1780: 1775: 1771: 1767: 1757: 1755: 1751: 1747: 1743: 1739: 1735: 1731: 1730: 1725: 1720: 1718: 1717:Peasants' War 1714: 1713: 1708: 1704: 1700: 1695: 1682: 1678: 1674: 1670: 1668: 1664: 1659: 1657: 1653: 1649: 1645: 1641: 1635: 1633: 1629: 1625: 1621: 1617: 1613: 1608: 1606: 1605: 1600: 1596: 1592: 1590: 1585: 1583: 1578: 1573: 1571: 1570:fortification 1566: 1565: 1555: 1551: 1547: 1538: 1535: 1533: 1529: 1525: 1521: 1517: 1513: 1509: 1505: 1499: 1497: 1493: 1492: 1487: 1483: 1479: 1478: 1473: 1469: 1465: 1461: 1457: 1453: 1449: 1445: 1441: 1437: 1433: 1432:Martin Luther 1425: 1421: 1420: 1415: 1406: 1404: 1398: 1393: 1388: 1386: 1376: 1374: 1368: 1363: 1355: 1351: 1347: 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C. Escher 6581: 6574: 6560: 6553: 6526: 6522:Parmigianino 6516: 6507: 6438:Hagia Sophia 6412: 6405: 6398: 6391: 6384: 6377: 6261:Computer art 6239:Architecture 6199:Tessellation 6182:Architecture 6132:Golden ratio 6052: 5979: 5971: 5963: 5955: 5940: 5925: 5917: 5909: 5903:watercolours 5888: 5880: 5872: 5864: 5856: 5850:Melencolia I 5848: 5840: 5832: 5824: 5816: 5808: 5800: 5792: 5784: 5776: 5768: 5760: 5752: 5744: 5737: 5731: 5723:Woodcuts and 5710: 5702: 5694: 5686: 5667: 5648: 5640: 5625: 5610: 5595: 5580: 5552: 5544: 5536: 5528: 5520: 5512: 5497: 5489: 5481: 5473: 5465: 5459:Adam and Eve 5457: 5449: 5441: 5433: 5425: 5417: 5402: 5393: 5378: 5362: 5356: 5348: 5333: 5325: 5317: 5310: 5296: 5257: 5237:. New York: 5234: 5186: 5177: 5151: 5141: 5109: 5094: 5078: 5074: 5058:. Retrieved 5046: 5026: 5011: 4996: 4949: 4934: 4920: 4899: 4884: 4868: 4850: 4835: 4825: 4824:Engraving". 4821: 4807: 4797: 4776: 4756:. Retrieved 4750: 4740: 4723: 4715: 4711: 4692: 4686: 4673: 4664: 4652:. 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Retrieved 3183: 3165: 3133: 3115: 3104:Salmi, Mario 3096: 3088: 3082: 3074: 3062: 3053: 3006:Coat of arms 2990: 2986: 2971: 2936: 2932: 2906: 2886: 2871: 2856: 2834: 2816: 2796: 2777: 2751: 2732: 2717: 2698: 2674: 2652: 2628: 2603: 2580: 2550: 2539:Watercolours 2528: 2507:Portrait of 2506: 2487: 2465: 2444: 2424: 2400: 2379: 2358: 2332: 2301: 2297: 2295: 2283:Michelangelo 2276: 2267: 2264: 2228: 2224:Parmigianino 2216: 2202: 2198: 2194: 2191: 2185: 2170:Bastion fort 2161: 2156: 2152: 2140: 2136: 2134: 2129: 2091:showing the 2088: 2064: 2029: 2025: 2019: 2014: 2003: 1946: 1911: 1907: 1903: 1897: 1882: 1873: 1863: 1856: 1849: 1842: 1830: 1818:Please help 1813:verification 1810: 1790: 1763: 1727: 1721: 1710: 1690: 1660: 1655: 1639: 1636: 1632:the Cardinal 1609: 1602: 1588: 1581: 1574: 1559: 1549: 1536: 1512:Jan Provoost 1500: 1489: 1486:Jan van Eyck 1475: 1472:Michelangelo 1450:and then to 1429: 1417: 1389: 1382: 1359: 1349: 1340: 1336: 1320: 1316:Hans Baldung 1304: 1278: 1274: 1262: 1252: 1249:Maximilian I 1246: 1240: 1225: 1196: 1194: 1179: 1173: 1167: 1157: 1148: 1146: 1137: 1133: 1129: 1123: 1119: 1115: 1109: 1105:Adam and Eve 1103: 1101: 1093: 1085: 1074:Melencolia I 1072: 1041:). It shows 1038: 1032: 1022: 1008: 997: 967: 950: 930: 911:Adam and Eve 909: 897:, Amsterdam) 890: 854: 847: 841: 833: 827: 825: 820:Adam and Eve 818: 799: 790: 786: 775: 774:(1498), and 771: 767: 760:Prodigal Son 759: 753: 748: 742: 732: 724: 718: 714: 712: 692: 680: 673: 633: 628: 621: 611: 599: 548: 546: 526: 514: 501: 491: 463: 459:coat-of-arms 431: 372: 363:Melencolia I 361: 360:(1514), and 355: 349: 343: 332:watercolours 325: 321:Maximilian I 273: 237: 236: 148:Notable work 97:(1528-04-06) 95:6 April 1528 56:Prado Museum 49: 29: 7321:1528 deaths 7316:1471 births 7096:G. H. Hardy 6899:Renaissance 6869:Polykleitos 6807:Tony Robbin 6718:John Ernest 6713:Jan Dibbets 6663:Crucifixion 6486:Renaissance 6340:Mathematics 6313:Celtic knot 6276:Fractal art 6178:Proportion 6152:Perspective 5989: 1503 5950: 1508 5935: 1503 5829:(1510–1511) 5821:(1497–1510) 5789:(1498–1500) 5658: 1508 5635: 1503 5620: 1500 5605: 1500 5590: 1496 5574:Altarpieces 5507: 1520 5412: 1500 5388: 1498 5381:(Nuremberg) 5372: 1498 5343: 1496 5081:(1): 1–10. 4259:(in German) 4207:Artnet News 4011:Dürer Today 3812:(in German) 3222:(in German) 2946: 1497 2935:, from the 2914: 1498 2842: 1501 2759: 1509 2660: 1506 2638: 1500 2610: 1497 2558: 1495 2340: 1496 2272:nationalism 2060:physiognomy 1997:Archimedean 1928:epicycloids 1742:Eucharistic 1734:evangelical 1644:mathematics 1395: [ 1365: [ 1308:lithography 1288: [ 1247:From 1512, 1142:chiaroscuro 977: 1508 918:, New York) 895:Rijksmuseum 872: 1496 806:perspective 791:Willow Mill 783: 1501 729:Holy Family 688: 1496 571:Netherlands 553:—in effect 550:Wanderjahre 515:Wanderjahre 471:silverpoint 422:silverpoint 377:and of the 138:printmaking 108:Nationality 73:21 May 1471 7305:Categories 7070:Owen Jones 6917:De pictura 6822:Oliver Sin 6772:Andy Lomas 6621:Relativity 6352:String art 6266:Fiber arts 6147:Paraboloid 5911:Young Hare 5874:Rhinoceros 5802:Visitation 5762:Apocalypse 5739:engravings 5725:engravings 4968:1288194477 4822:St. Philip 4810:. 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Born in 282:printmaker 195:Agnes Frey 161:engravings 69:1471-05-21 6881:Vitruvius 6855:Theorists 6635:Waterfall 6540:19th–20th 6468:Taj Mahal 6448:Parthenon 6425:Buildings 6379:Continuum 6347:Sculpture 6323:Interlace 6117:Algorithm 5901:Drawings, 5304:Paintings 4976:cite book 4232:museen.de 3149:Citations 3059:St Jerome 2989:from the 2412:Portraits 2308:from the 2145:Nuremberg 2038:Albertian 2034:Vitruvius 1989:polyhedra 1965:Vitruvius 1944:of 1522. 1924:conchoids 1916:and Ruler 1746:utraquism 1681:Nuremberg 1520:Jean Mone 1436:Charles V 1259:Horapollo 1058:Rudolf II 709:, Munich. 676:Nuremberg 567:Frankfurt 555:gap years 435:goldsmith 428:, Vienna. 426:Albertina 405:Biography 294:Nuremberg 218:Signature 156:Paintings 77:Nuremberg 7289:Category 7016:Romantic 6694:Max Bill 6628:Reptiles 6443:Pantheon 6400:Octacube 6366:Artworks 6308:Knotting 6296:Muqarnas 6194:Symmetry 6122:Catenary 6110:Concepts 5660:) (with 5405:(Munich) 5156:Archived 5134:(1911). 4906:, 1973. 4654:6 August 3659:Archived 3306:, 31–32. 3296:(1881). 2687:Drawings 2616:, London 2093:monogram 2072:inspired 2068:Leonardo 1949:polygons 1900:geometry 1876:May 2017 1460:Nijmegen 1275:The Arch 1132:and the 1108:(1507), 1037:(or the 1021:and the 852:(1503). 795:Madonnas 770:(1502), 705:(1500). 701:Dürer's 636:drypoint 569:and the 354:(1513), 286:theorist 175:Movement 166:woodcuts 133:Painting 48:Dürer's 7248:Related 6862:Ancient 6596:Man Ray 6542:Century 6478:Artists 6335:Origami 6249:Pyramid 6127:Fractal 6046:Related 5999:Museums 5451:Avarice 5250:of the 5246:in the 5223:of the 5205:at the 5174:YouTube 5162:at the 4770:Sources 4263:17 July 4237:17 July 4212:17 July 3550:1554333 2765:(KK106) 2739:, Paris 2591:, Paris 2562:gouache 2316:Gallery 2176:Fencing 1985:modular 1969:columns 1953:Ptolemy 1920:helices 1914:Compass 1860:scholar 1699:Zwingli 1648:Galileo 1496:Zeeland 1494:), and 1452:Antwerp 1448:Cologne 1211:etching 1164:Erasmus 1152:famous 1097:Raphael 1051:Flemish 1011:tempera 810:anatomy 768:Nemesis 629:Nemesis 508:woodcut 447:Hungary 441:, near 318:Emperor 302:Raphael 288:of the 278:painter 265:German: 208: 200: 7063:Modern 6699:Martin 6562:Newton 6357:Tiling 6301:Zellij 6271:4D art 6015:Family 5976:(1514) 5968:(1514) 5960:(1512) 5922:(1503) 5914:(1502) 5893:(1526) 5885:(1522) 5877:(1515) 5869:(1515) 5861:(1514) 5853:(1514) 5845:(1513) 5837:(1511) 5813:(1504) 5805:(1503) 5797:(1500) 5781:(1497) 5773:(1498) 5765:(1498) 5757:(1496) 5749:(1495) 5715:(1500) 5707:(1498) 5699:(1493) 5672:(1511) 5645:(1506) 5637:–1504) 5557:(1526) 5549:(1526) 5541:(1526) 5533:(1526) 5525:(1521) 5517:(1521) 5494:(1519) 5486:(1519) 5478:(1518) 5470:(1508) 5462:(1507) 5454:(1507) 5446:(1505) 5438:(1506) 5422:(1504) 5398:(1500) 5353:(1497) 5330:(1496) 5322:(1490) 5116: 5101: 5060:3 June 5033: 5018: 5003: 4966: 4956: 4941: 4927: 4910: 4891: 4877: 4857: 4842: 4814:, 1960 4783: 4699: 4504:passim 4461: 4427: 4393: 4359: 4288: 4177: 4143: 3934: 3875: 3841: 3705: 3635: 3570:889418 3568: 3548: 3494: 3441: 3396: 3253: 3172: 3071:Ulmian 2703:Louvre 2679:vellum 2589:Louvre 2568:(3057) 2474:Lindau 2451:Uffizi 2306:stolen 2222:, and 2220:Titian 2207:messer 2188:, 1512 2168:– see 2149:Arnhem 2052:convex 1957:Euclid 1934:, and 1862: 1855: 1848: 1841: 1833: 1738:Gospel 1652:Kepler 1626:, and 1591:(1526) 1584:(1526) 1468:Bruges 1440:Aachen 1203:Lisbon 1190:antler 1054:verism 812:, and 664:Mantua 654:; 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