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The Four Apostles by is a Renaissance style diptych painting created by Albrecht Dürer in 1526. [1] This work, which includes two oil-on-panel paintings, depicts four prominent figures of Christianity: Saints John, Peter, Mark, and Paul.
Fedja Anzelewsky: Albrecht Dürer. Das malerische Werk. Deutscher Verlag für Kunstwissenschaft, Berlin 1971, ISBN 3-871-57-0400. 2nd edition in two volumes, 1991, ISBN 3-871-57-1377. Norbert Wolf: Albrecht Dürer, Prestel, München 2010, ISBN 978-3-7913-4426-3.
The Holy Family with Three Hares is a c. 1496 woodcut by German artist Albrecht Dürer (1471–1528). It depicts the Christian Holy Family of Mary, Joseph, and the infant Jesus, in an enclosed garden, symbolizing Mary's virginity.
The Complete Engravings, Etchings and Drypoints of Albrecht Durer. Mineola NY: Dover Publications, 1973. ISBN 0-486-22851-7; Borchert, Till-Holger. Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530. London: Thames & Hudson, 2011. ISBN 978-0-500-23883-7; Wolf, Norbert. Albrecht Dürer. Cologne ...
The majority of artists who depicted the story of Susanna's bath used the opportunity to paint a female nude. Altdorfer has chosen a more secular approach which is the rare exception. Altdorfer puts the main emphasis on the representation of the palace of Jehoiakim with extensive terraces and adjacent gardens. The cloisters, halls, and terraces ...
Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain.The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice.
Praying Hands (German: Betende Hände), also known as Study of the Hands of an Apostle (Studie zu den Händen eines Apostels), is a pen-and-ink drawing by the German printmaker, painter and theorist Albrecht Dürer. The work is today stored at the Albertina museum in Vienna, Austria.
The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" (94).