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Creator is exactly "Dürer, Albrecht, 1471–1528."
This early engraving, made shortly before Dürer’s second journey to Italy in 1505–06, reflects the artist’s interest in transferring the ideals of Classical art to Christian subject matter. The print presents the Savior in the contrapposto pose…
Bridwell Library has one woodcut from Dürer’s “Life of the Virgin,” a book that consisted of twenty illustrations created from 1504 to 1510. This woodcut, the last in the sequence and most likely the last to be produced, depicts the Coronation of the…
One of Dürer’s last woodcuts, the Last Supper of 1523, has been interpreted in terms of the theological debate over the conduct and meaning of the Eucharist during the early years of the Reformation. Dürer changed the central focus of the Last Supper…
In this woodcut from the Apocalypse series, Dürer illustrated the beginning of Revelation chapter 14 along with several elements described in earlier chapters of the biblical account.
In 1514 Dürer also began a series of small engravings of Christ’s apostles. The first two produced were of St. Paul and St. Thomas. In the exhibited print, St. Thomas holds both a Bible and his traditional attribute, the spear with which he…
Dürer added two more engravings to his series of apostles in 1523: St. Bartholomew and St. Simon. In the print of St. Simon, the artist dispensed with the medieval tradition of the halo, concentrating instead on the apostle’s grave dignity and the…
A friend of Dürer’s since 1518, Philipp Melanchthon (1497–1560) was Germany’s leading scholar of biblical languages and Luther’s most important colleague in the promotion of his theological reforms. In 1526, the great Wittenberg reformer was living…
The fifth and last of Dürer’s engraved apostles bears the date 1526 (altered from 1523). At that time Dürer was preparing a large two–panel painting called The Four Apostles for the Town Hall of the city of Nuremberg. The painting, inscribed with…
This book provided Dürer’s models for the fortification of cities, castles, and smaller outposts. His woodcut diagrams show various defenses combining moats, ditches, earthen bulwarks, projecting bastions, corner blockhouses, and somewhat fanciful…
The dynamic power of Dürer’s woodcut technique is evident in this print from the Apocalypse series. The woodcut depicts the sounding of the sixth angel’s trumpet, which released a plague of armed horsemen and four avenging angels from the Euphrates…
Soon after the completion of his major illustrated books of 1511, Dürer initiated a period of experimentation with new engraving techniques that lasted until 1518 including drypoint and etching. Dürer’s Agony in the Garden, one of the first etchings…
Woodcut of St. Jerome in his cell surrounded by books, writing implements, a devotional Crucifix, and a faithful lion who guards his studious retreat. Dürer also included symbolism in the broad cardinal's hat and fur-lined robes, books, hourglass,…
Dürer’s most problematic masterpiece, Melencolia I, must be considered an experimental print, for there are no others like it in his oeuvre or in the art of his time.