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An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. [12] In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 [ 28 ] and ...
Portrait of a Young Venetian Woman is a small bust-length oil on elm panel painting by the German artist Albrecht Dürer from 1505. [1] It was executed, along with a number of other high-society portraits, during his second visit to Italy. She wears a patterned gown with tied-on sleeves that show the chemise beneath.
Self-Portrait (Portrait of the Artist Holding a Thistle) 1493 d+c [9] Oil on parchment transferred to canvas [10] 56.5 × 44.5: Paris, Musée du Louvre : 10 Jesus Child as Redeemer: 1493 dm [11] Bodycolor and gold on parchment: 11.8 × 9.3: Vienna, Albertina 11 Lion: 1494 dm [12] Bodycolor, watercolor on parchment: 12.6 × 17.2: Hamburg ...
Adam and Eve, 1504, engraving with burin on copper, 25.1 x 19.8 cm Adam and Eve, 1507, oil on wood panel, 208 x 91 cm per panel. Museo del Prado.. Adam and Eve is the title of two famous works in different media by Albrecht Dürer, a German artist of the Northern Renaissance: an engraving made in 1504, and a pair of oil-on-panel paintings completed in 1507.
The Nazarene movement, the coinage of a mocking critic, denotes a group of early 19th-century German Romantic painters who aimed to revive honesty and spirituality in Christian art. The principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system.
Self-Portrait (or Self-Portrait at Twenty-Eight) is a panel painting by the German Renaissance artist Albrecht Dürer. Completed early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of these. [1]
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 artist's mix of classical and sixteenth-century Nuremberg motifs and the northern European setting were utilised to bring the images closer to the audience. According to the critic Laurie Meunier Graves, "these prints manage to illuminate the sacred while at the same time providing scenes of homely, Renaissance life.