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Authorship of many woodcuts is uncertain, with different sources disagreeing if the woodcut was made by Dürer alone, with help of one of his students, or by one of his students with or without Dürer supervision. For some prints we also have only copies from late printings, which could be by Dürer or a copy of a lost print by him.
Copper engraving: 316 × 225 mm: B61 The Penance of St John Chrysostom: 1494–1498: Copper engraving: 183 × 119 mm: B63 The Deformed Landser Sow: 1494–1498: Copper engraving: 118 × 126 mm: B95 The Prodigal Son: 1494–1498: Copper engraving: 247 × 191 mm: B28 The Small Fortune: 1495–1496: Copper engraving: 120 × 66 mm: B78 The Small ...
The woodcuts series are stylistically more Gothic than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the burin expanded especially the tonal range of his engravings; well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome ...
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 ...
Great Passion is a 1497–1510 series of eleven woodcuts plus a frontispiece by Albrecht Dürer. Its title distinguishes it from his later Small Passion . One of the best surviving sets is now in the Albertina in Vienna.
Jean Duvet's series of the same name, Apocalypse, is a set of 15 engravings that emulates the subject matter taken on by Dürer in his mature cycle. Though of the same topic, Duvet creates his set utilizing his own unique engraving style. Duvet's series was fully published in 1561, with the first plate dating 6 years earlier in 1555. [23]
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