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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 prints with uncertain authorship will be marked by a note below the title. The list below contains great majority of the prints which were included in one of the Dürer's catalogue raisonné indicated, even if the source was not certain of the authorship or considered it to be work of School of Dürer.
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 ...
Melencolia I is a large 1514 engraving by the German Renaissance artist Albrecht Dürer. Its central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia – melancholy. Holding her head in her hand, she stares past the busy scene in front of her.
Dürer catalog: a manual about Albrecht Dürer's engravings, etchings, woodcuts, their conditions, editions and watermarks, 21 Hollstein's German engravings, etchings and woodcuts, ca. 1400-1700. Vol. 7: Albrecht and Hans Dürer , 21
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 ...
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]
f : anything of a different hand than Dürer's of a (most probably always) later date (e. g. "d f w f" means later date and text by a foreign hand) c : authenticity challenged by several scholars and not yet invalided (e. g. "m c w" would mean the work is well sourced but the monogram seemed to be for some students not by Dürer's hand)
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