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Collection: Books and Prints by Albrecht Durer
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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,…
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/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…
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…
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…
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…
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…
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…
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…
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…
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…
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…
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.
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…
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…
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…
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…
AFD3981
The international influence of Dürer’s Small Passion woodcuts can be seen in this Italian book of meditations on the Passion, which reveals obvious dependence on Dürer’s image of Christ before Caiaphas. Here, although an anonymous Venetian artisan…
AFW8257
Several of the illustrations in this Parisian Book of Hours, such as the exhibited image of Christ Appearing to his Mother, were closely modeled on Dürer’s Small Passion. Here, the anonymous French artist added a scroll bearing Christ’s words “Regina…
11012
A portable devotional book of 38 leaves issued in small quarto format. It consisted of a title page and 36 woodcuts illustrating the narrative of Christ’s Passion, followed by the colophon, in which the printer identified himself as “Albrecht Dürer,…
11011
Dürer’s Large Passion was issued as a folio–format devotional book. It consisted of a title page depicting the Mocking of Christ and eleven large woodcuts illustrating the narrative of Christ’s Passion as conveyed in Latin verses by Benedictus…
AFU6978
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…
31358
As another favor to his friend Wilibald Pirckheimer, who edited this work by the ancient Greek historian Plutarch, Der designed this handsome title-page border. Surrounding Pirckheimers coat-of-arms in the lower margin, the trumpet-blowing putti, the…
06961
Dürer’s closest friend, Wilibald Pirckheimer (1470–1530), was Nuremberg’s leading humanist scholar. As a favor to Pirckheimer, Dürer designed the armorial bookplate that the scholar pasted into his books, including this copy of a popular…
AFM4742
Dürer designed two woodcuts for this first edition of the Latin plays of Hrotsvitha, a tenth–century Benedictine nun from Gandersheim. The two woodcuts by Dürer are the frontispiece, showing Celtes presenting the new edition to Friedrich III of…
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