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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. [ 6 ] Because Dürer left autobiographical writings and was widely known by his mid-twenties, his life is well documented in several sources.
c : not signed or referenced anywhere, however known through copies For the current location the city is mentioned first, it is most unambiguous and allows to combine multiple galleries of that city. The gallery where the work is displayed is mentioned second, followed by the name of the actual superordinate collection owning the work (on first ...
Among his many manuscripts Durer, along with his wife Agnes and friend Willibald Pirckheimer (posthumously) published "Four Books on Human Proportion". Many of Durer's handmade drawings were drawn on a grid to help him simplify the proportions of people in motion.
Durer also placed quotations from Luther's translation of the German New Testament on the panel beneath the Apostles. [1] Dürer's commitment to his new Protestant identity is further evidenced by placing the saints Paul and John, who were believed to be the most influential to Luther, at the foreground of the painting.
Considering the 15 woodcuts, The Four Horsemen of the Apocalypse (c. 1497–98), [7] referring to Revelation 6:1–8, [8] is often viewed as the most famous piece. The overall layout of the cycle has the illustrations on the recto (right) and the text on the following verso (left). This would suggest the importance of illustration over text.
Cardinal Albrecht of Brandenburg; or the Great Cardinal: 1523: Copper engraving: 174 × 127 mm: B103 St Bartholomew: 1523: Copper engraving: 121 × 75 mm: B47 St Simon: 1523: Copper engraving: 118 × 75 mm: B49 Large Crucifixion in outline only: с. 1523: Copper engraving: 320 × 226 mm: Portrait of Frederick the Wise: 1524: Copper engraving ...