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Collection: Books and Prints by Albrecht Durer
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BRF0108 Flat-B
This chalk drawing by an unknown Italian artist was identified recently as an early copy of Jacopo da Pontormo’s now-ruined fresco of Christ Carrying the Cross, painted in 1525 at the Certosa da Galluzo near Florence. In his Lives of the Artists…
AER1214
This first edition of the Gospels in Arabic was illustrated with sixty-eight woodcuts. The illustrations were designed for this edition by the Italian painter and printmaker Antonio Tempesta (1555–1630). Tempesta was a highly gifted and original…
AFU6977
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…
BRA1067
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…
BRF0224
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.
BRA0253
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…
BRA0254
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…
BRA0256
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…
AFG4826
Despite his wishes, Dürer never had the opportunity to portray Luther from life. Most Europeans came to recognize Luther’s features through portraits by Lucas Cranach the Elder (1472–1553), who became one of Luther’s closest friends, and Hans Baldung…
BRA0255
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…
AFW5031
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…
BRB0736/A
The cultural legacy of Dürer’s art lived on long after his death in 1528. In this 1571 catechism for Lutheran children, the lessons concerning Baptism and Communion were introduced by two illustrations. Judas has already departed from the meal and…
BRA0128
This 1564 reprinting of Luther’s Passional Christi und Antichristi includes 26 woodcuts by Lucas Cranach the Elder that were first printed in 1521. These highly effective polemical prints compared the ministry of Christ against the corruption of the…
BRA0930
Martin Luther's second edition German Bible, translated from the original Greek, known as "Dezembertestament" or the "December Testament" includes woodcut illustrations done by Lucas Cranach the Elder. Closely based on the Apocalypse woodcuts of…
BRA1017/B
In this treatise Dürer explained the basic principles of “the art of measurement, without which no one can become a true artisan.” Illustrated with Dürer’s woodcuts throughout, the book concerns linear geometry, two–dimensional figures, geometric…
BRA1017/C
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…
BRA1017/A
Dürer’s treatise on human proportions represented the culmination of nearly three decades of investigation into the anatomical workings and proportions of the human body - the first of its kind in northern European art. In numerous woodcut diagrams,…
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