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The first Fraktur typeface arose in the early 16th century, when Emperor Maximilian I commissioned the design of the Triumphal Arch woodcut by Albrecht Dürer and had a new typeface created specifically for this purpose, designed by Hieronymus Andreae.
Dürer was born on 21 May 1471, the third child and second son of Albrecht Dürer the Elder and Barbara Holper, who married in 1467. [ 5 ] [ 6 ] Albrecht Dürer the Elder (originally Albrecht Ajtósi) was a successful goldsmith who by 1455 had moved to Nuremberg from Ajtós , near Gyula in Hungary . [ 7 ]
Dürer returned from his trip to the Netherlands in 1521 with a number of gifts for friends, including an "exceedingly large horn" for Andreae. A Dürer drawing in the British Museum (W 899) inscribed by the artist "Fronica 1525 Formschneiderin" may be of Andreae's wife (Veronica), as an old inscription on the back says. [11]
Schwabacher types appeared in the Free Imperial City of Nuremberg from about 1485: Anton Koberger (c. 1440 –1513) used them for the publication of the Nuremberg Chronicle (in both Latin and German) in 1493, and Albrecht Dürer (1471–1528) for his Apocalypse series in 1498.
The artist met the emperor in the castle and made a pencil drawing of him, from which he later painted the panel portrait. 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".
Knight, Death and the Devil, 1513, engraving, 24.5 x 19.1 cm. Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche (master prints) [1] completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings.
The Meisterstiche ("master prints") by Dürer are three of his most famous engravings. They are Knight, Death and the Devil (1513), Melencolia I (1514) and St. Jerome in His Study (1514). These three large prints (about 7 by 10 inches (18 by 25 cm)) are often grouped together because of their perceived quality and unity of meaning, although ...
Portrait of Dürer's Father diptych, right wing back side: Combined Coat of Arms of the Dürer and Holper Families: 1490 dm l w c [1] Oil on panel: 47.5 × 39.5 47 × 39: Florence, Uffizi (1086 (1890 post), 00286561) 2–3 Portrait of Barbara Dürer diptych, left wing back side: "Rocky Landscape with Dragon", [2] or "Hell resp. Purgatory scene ...
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