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Works by or about Albrecht Dürer at the Internet Archive; Works by Albrecht Dürer at Project Gutenberg; The Early Duerer Research Project of the Germanisches Nationalmuseum Nuremberg, with a comprehensive bibliography since 1971 (German). "Albrecht Dürer (1471–1528)". In Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art
This is a crucial difference in Albrecht Dürer's construction of the work. His self-characterization is further substantiated by the alignment of the second king and the artists' famous monogram, which appears on a block in the foreground. Even so, there is nothing unusual in forming one of the Magi from a portrait of a real individual. [3]
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.
The gallery where the work is displayed is mentioned second, followed by the name of the actual superordinate collection owning the work (on first appearance in the list only). The inventory number of the object in brackets is (ideally) linked to the entry in the online catalogue of the collection if available.
The work is one of 16 woodcuts in Dürer's Life of the Virgin series, which he executed between 1501 and 1511. Joachim and Anne Meeting at the Golden Gate is the only work in the series to include a date. [1] Throughout the series, the Virgin is displayed as an intermediary between the divine and the earth, yet shown with a range of human ...
Albrecht Dürer". [7] Dürer was born in May 1471, and he himself did not title the work--nor did he title most of his works; given that it was completed in 1484, it is almost equally likely Dürer had created it when he was 12 years old, even though the self-portrait is sometimes known by the invented title "at the age of 13" [3] [8]
The women are positioned in a small interior space which contains a window and can be entered or exited from two sides. The small devil in the left hand recess, who is intended to represent evil, as mammalian anatomy including hind legs, and holds a vaguely described object in his claw that appears to consist of sticks and a piece of string, [10] perhaps comprising a contemporary device for ...
On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518". The oil panel was completed when the emperor had already died, with some variants from the initial drawing.