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Collection: Books and Prints by Albrecht Durer
The immediate impact of Dürer’s St. Jerome frontispiece of 1492 is evident in this woodcut of St. Ambrose, printed in Basel later the same year. Similar to the St. Jerome in conception but less sophisticated in its placement of objects on the floor,…
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…
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…
Noted for its striking woodcut illustrations, this book recounts a pilgrimage to the Holy Land undertaken in 1483–1484 by Bernhard von Breydenbach, Dean of Mainz Cathedral. Accompanying the pilgrims was Erhard Reuwich, a Dutch artist who provided…
St Bridget's account of her experiences of "celestial revelations" of Christ's life, the Last Judgment, her own "mystical marriage" to Christ, and divine instructions to found the Brigittine Order. Although the 29 woodcut illustrations for this…
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,…
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…
Dürer published the Apocalypse, a book with fifteen full–page illustrations, in German and Latin editions of the biblical text in 1498. With these prints Dürer transformed the “popular” woodcut craft into an art form of immense descriptive and…
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…
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,…
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…
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…
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…
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…
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’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.
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…
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…
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.
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…
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,…
Another work published by Koberger. This devotional written by Stephan Fridolin narrates 100 events in the life of Christ with 91 woodcut illustrations by Michael Wolgemut, who taught Dürer starting in 1486.
This book has the earliest woodcut associated with Albrecht Dürer, which would have been done when he was an 18 year old apprentice in Michael Wolgemut's workshop.