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1375:. Apparently, this reflects a seventeenth-century "artists' legend" about the previously mentioned encounter (in which the emperor held the ladder) – that this encounter corresponds with the period Dürer was working on the Viennese murals. In 2020, during restoration work, art connoisseurs discovered a piece of handwriting now attributed to Dürer, suggesting that the Nuremberg master had actually participated in creating the murals at St. Stephen's Cathedral. In the recent 2022 Dürer exhibition in Nuremberg (in which the drawing technique is also traced and connected to Dürer's other works), the identity of the commissioner is discussed. Now the painting of Siegert (and the legend associated with it) is used as evidence to suggest that this was Maximilian. Dürer is historically recorded to have entered the emperor's service in 1511, and the mural's date is calculated to be around 1505, but it is possible they have known and worked with each other earlier than 1511.
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477:) "when I was a child", as his later inscription says. The drawing is one of the earliest surviving children's drawings of any kind, and, as Dürer's Opus One, has helped define his oeuvre as deriving from, and always linked to, himself. Wolgemut was the leading artist in Nuremberg at the time, with a large workshop producing a variety of works of art, in particular woodcuts for books. Nuremberg was then an important and prosperous city, a centre for publishing and many luxury trades. It had strong links with
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Pirckheimer (who he met in 1495, before entering the service of
Maximilian) was also an important personage in the court and great cultural patron, who had a strong influence on Dürer as his tutor in classical knowledge and humanistic critical methodology, as well as collaborator. In Maximilian's court, Dürer also collaborated with a great number of other brilliant artists and scholars of the time who became his friends, like
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457:(1490–1534), also became a painter, trained under the older Albrecht. The other surviving brother, Endres Dürer (1484–1555), took over their father's business and was a master goldsmith. The German name "Dürer" is a translation from the Hungarian, "Ajtósi". Initially, it was "Türer", meaning doormaker, which is "ajtós" in Hungarian (from "ajtó", meaning door). A door is featured in the
1209:, 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. 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 and portraits in tempera on linen in 1516. His only experiments with
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variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ("Nutz"), naïve approval ("Wohlgefallen") and the happy medium ("Mittelmass"). However, unlike
Alberti and
225:
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It is now thought unlikely that Dürer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in
Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great
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In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and
Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the
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Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominantly in private collections located in only a few cities. His success in spreading his reputation
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Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected
Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on
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in 1524, Dürer wrote, "because of our
Christian faith we have to stand in scorn and danger, for we are reviled and called heretics". Most tellingly, Pirckheimer wrote in a letter to Johann Tscherte in 1530: "I confess that in the beginning I believed in Luther, like our Albert of blessed memory ...
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In another occasion, Maximilian noticed that the ladder Dürer used was too short and unstable, thus told a noble to hold it for him. The noble refused, saying that it was beneath him to serve a non-noble. Maximilian then came to hold the ladder himself, and told the noble that he could make a noble
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Dürer manifested a strong pride in his ability, as a prince of his profession. One day, the emperor, trying to show Dürer an idea, tried to sketch with the charcoal himself, but always broke it. Dürer took the charcoal from
Maximilian's hand, finished the drawing and told him: "This is my scepter."
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Maximilian was a very cash-strapped prince who sometimes failed to pay, yet turned out to be Dürer's most important patron. In his court, artists and learned men were respected, which was not common at that time (later, Dürer commented that in
Germany, as a non-noble, he was treated as a parasite).
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in 1495, Dürer opened his own workshop (being married was a requirement for this). Over the next five years, his style increasingly integrated
Italian influences into underlying Northern forms. Arguably his best works in the first years of the workshop were his woodcut prints, mostly religious, but
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to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on
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in a rough tone about his wife, calling her an "old crow" and made other vulgar remarks. Pirckheimer also made no secret of his antipathy towards Agnes, describing her as a miserly shrew with a bitter tongue, who helped cause Dürer's death at a young age. It has been hypothesized by many scholars
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Dürer's writings suggest that he may have been sympathetic to Luther's ideas, though it is unclear if he ever left the
Catholic Church. Dürer wrote of his desire to draw Luther in his diary in 1520: "And God help me that I may go to Dr. Martin Luther; thus I intend to make a portrait of him with
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woodcuts, first published in 1511, and a set of fifteen small engravings on the same theme in 1512. Complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. In 1513 and 1514 Dürer created his three most
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The evidence for this trip is not conclusive; the suggestion it happened is supported by Panofsky (1945) and is accepted by a majority of scholars, including the several curators of the large 2020–22 exhibition "Dürer's Journeys", but it has been disputed by other scholars, including Katherine
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following an arrangement made during his absence. Agnes was the daughter of a prominent brass worker (and amateur harpist) in the city. However, no children resulted from the marriage, and with Albrecht the Dürer name died out. The marriage between Agnes and Albrecht was believed not to be a
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Because Dürer left autobiographical writings and was widely known by his mid-twenties, his life is well documented in several sources. After a few years of school, Dürer learned the basics of goldsmithing and drawing from his father. Though his father wanted him to continue his training as a
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Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented. While providing valuable
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Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and
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understanding of what the technique could be made to produce, and how to work with block cutters. Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.
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from him. To Dürer it seemed that De' Barbari was unwilling to explain everything he knew, so he began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of
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2070:, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or
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Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with many of the major artists including
2237:
was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds
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2205:(Libr.Pict.A.83), is also thought to have originated in his workshop around this time. These sketches and watercolours show the same careful attention to detail and human proportion as Dürer's other work, and his illustrations of grappling, long sword, dagger, and
1027:. In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time Dürer's engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of
2032:) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both
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Dürer created many sketches and woodcuts of soldiers and knights over the course of his life. His most significant martial works, however, were made in 1512 as part of his efforts to secure the patronage of Maximilian I. Using existing manuscripts from the
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1049:, peacefully kneeling in adoration before her throne, both with their crowns taken off. It also includes portraits of members of Venice's German community and of Dürer himself on the upper right holding a designation of his authorship. Besides the
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1568:, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and
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half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year".
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but as anyone can see, the situation has become worse." Dürer may even have contributed to the Nuremberg City Council's mandating Lutheran sermons and services in March 1525. Notably, Dürer had contacts with various reformers, such as
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present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. Dürer has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the
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According to Vasari, Dürer sent Raphael a self-portrait in watercolour, and Raphael sent back multiple drawings. One is dated 1515 and has an inscription by Dürer (or one of his heirs) affirming that Raphael sent it to him. See
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in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving
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1305:
Dürer worked with pen on the marginal images for an edition of the Emperor's printed prayer book; these were quite unknown until facsimiles were published in 1808 as part of the first book published in
924:
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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. Albrecht Dürer the Elder (originally Albrecht Ajtósi) was a successful
1184:(both 1514, the year Dürer's mother died). Further outstanding pen and ink drawings of Dürer's period of art work of 1513 were drafts for his friend Pirckheimer. These drafts were later used to design
2965:
2201:("Weapon Training, or Albrecht Dürer's Meditation on the Handling of Weapons", MS 26-232). Another manuscript based on the Nuremberg texts as well as one of Hans Talhoffer's works, the untitled
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illustrations (albeit with many repeated uses of the same block) by the Wolgemut workshop. Dürer may have worked on some of these, as the work on the project began while he was with Wolgemut.
2865:
2262:). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to also dominate Northern engraving.
1454:, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal. In addition to attending the coronation, he visited Cologne (where he admired the painting of
3673:
1575:
However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of
557:—in which the apprentice learned skills from other masters, their local tradition and individual styles; Dürer was to spend about four years away. He left in 1490, possibly to work under
1537:
Having secured his pension, Dürer returned home in July 1521, having caught an undetermined illness, which afflicted him for the rest of his life, and greatly reduced his rate of work.
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documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one. For example, Dürer offered his last portrait of Maximilian to his daughter,
1430:
Maximilian's death came at a time when Dürer was concerned he was losing "my sight and freedom of hand" (perhaps caused by arthritis) and increasingly affected by the writings of
758:
to make engravings. Most likely he had learned this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the
1401:
produced the first planispheres of both southern and northerns hemispheres, as well as the first printed celestial maps, which prompted the revival of interest in the field of
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and empirical observations of "two to three hundred living persons", in his own words. The second book includes eight further types, broken down not into fractions but an
527:
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the family acquired. Albrecht Dürer the Younger later changed "Türer", his father's diction of the family's surname, to "Dürer", to adapt to the local Nuremberg dialect.
1213:
came in this period, producing five between 1515–1516 and a sixth in 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form.
1056:
in the depiction of the greenery and the garments, and the use of his own hues, the altar-piece shows a strong Italian influence. It was later acquired by the Emperor
6432:
793:, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of
741:
in 1496, was executed by Dürer and his assistants c. 1500. In 1502, Dürer's father died. Around 1503–1505 Dürer produced the first 17 of a set illustrating the
1434:. In July 1520 Dürer made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secure the patronage of the new emperor,
496:
left goldsmithing to become a printer and publisher in the year of Dürer's birth. He became the most successful publisher in Germany, eventually owning twenty-four
449:. He married Barbara, his master's daughter, when he himself qualified as a master. Her mother, Kinga Öllinger had some roots in Hungary too, as she was born in
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great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties." In a letter to
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1782:("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose which Luther had begun with his translation of the
823:(1504), which shows his subtlety while using the burin in the texturing of flesh surfaces. This is the only existing engraving signed with his full name.
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Dürer died in Nuremberg at the age of 56, leaving an estate valued at 6,874 florins – a considerable sum. He is buried in the Johannisfriedhof cemetery.
1391:
1506:, but eventually traded the picture for some white cloth after Margaret disliked the portrait and declined to accept it. During this trip he also met
642:. He also would have had access to some Italian works in Germany, but the two visits he made to Italy had an enormous influence on him. He wrote that
7223:
2050:
of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of
573:. In Colmar, Dürer was welcomed by Schongauer's brothers, the goldsmiths Caspar and Paul and the painter Ludwig. Later that year, Dürer travelled to
5042:
1715:
in 1520. Yet Erasmus and C. Grapheus are better said to be Catholic change agents. Also, from 1525, "the year that saw the peak and collapse of the
1587:
2799:, 1521, brush, ink, heightened w/ gouache, on gray-violet prepared paper, 41.5 × 28.2 cm, Albertina (3167). Study for the St. Jerome
1361:
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2162:
The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal fortification (the
2009:
3681:
690:). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition.
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1634:, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile.
719:
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2406:, 1511, oil on poplar, 135 × 123.4 cm, Kunsthistorisches Museum (GG 838). The framework is a reconstruction of his design
1390:
In 1515 Dürer and Stabius created the first world map projected on a solid geometric sphere. Also in 1515, Stabius, Dürer and the astronomer
1752:, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of saints; even if Dürer was not an
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singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably
634:
In Italy, he went to Venice to study its more advanced artistic world. Through Wolgemut's tutelage, Dürer had learned how to make prints in
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As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise. The portraits include his boyhood friend
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system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of
826:
Dürer created large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the
438:
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De vrbibus, arcibus, castellisque condendis, ac muniendis rationes aliquot : praesenti bellorum necessitati accommodatissimae
2153:
On Cities, Forts, and Castles, Designed and Strengthened by Several Manners: Presented for the Most Necessary Accommodation of War
1866:
1560:
On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a
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1976:
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was the oldest and still the best of the artists in Venice. His drawings and engravings show the influence of others, notably
155:
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1669:), where his workshop was located and where his widow lived until her death in 1539, remains a prominent Nuremberg landmark.
804:, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in
5732:
3033:
165:
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that Albrecht was bisexual or homosexual, due to the recurrence of allegedly homoerotic themes in some of his works (e.g.
5857:
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1345:
1257:, a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of
356:
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1243:(1515, 1799 ed.), 42 woodcuts and 2 etchings, 354 × 298.5 cm overall (National Gallery of Art, Inv. 76935)
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4203:"Astounded Scholars Just Found What Appears to Be a Previously Unknown Work by Albrecht Dürer in a Church's Gift Shop"
1819:
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Campbell, Angela and Raftery, Andrew. "Remaking Dürer: Investigating the Master Engravings by Masterful Engraving",
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than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the
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1310:. Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including
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modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.
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1046:
836:) from circa 1508, a study for an apostle in the Heller altarpiece. He continued to make images in watercolour and
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43:
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50:
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The Life of Albrecht Dürer of Nürnberg: With a Translation of His Letters and Journal and an Account of His Works
2172:), though his designs seem to have had some influence in the eastern German lands and up into the Baltic region.
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from a written description and sketch by another artist, without ever seeing the animal himself. An image of the
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80:
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1834:
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1269:, the architectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by
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2720:, 1501, brush and pen(?) w/ highlights and construction lines, 16.9 × 21.8 cm, Albertina (3072)
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1318:. Dürer also made several portraits of the Emperor, including one shortly before Maximilian's death in 1519.
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were published as sets until several years later, but prints were sold individually in considerable numbers.
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correspondence with Erasmus and other scholars. Dürer succeeded in producing two books during his lifetime.
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in 1492. It is unclear where Dürer travelled in the intervening period, though it is likely that he went to
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2640:("1512" by later hand), watercolour and gouache on parchment, 19.6 × 20 cm, Albertina (4840)
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goldsmith, he showed such a precocious talent in drawing that he was allowed to start as an apprentice to
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Korolija Fontana-Giusti, Gordana. "The Unconscious and Space: Venice and the Work of Albrecht Dürer", in
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Albrecht Dürer, His Life and a Selection of His Works: With Explanatory Comments by Dr. Friedrich Nüchter
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2233:" who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions.
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Within three months of his marriage, Dürer left for Italy, alone, perhaps stimulated by an outbreak of
296:, Dürer established his reputation and influence across Europe in his twenties due to his high-quality
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4648:"Hierinn sind begriffen vier Bucher von menschlicher Proportion durch Albrechten Durer von Nurerberg"
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840:(usually combined), including a number of still lifes of meadow sections or animals, including his
785:), with a highly detailed landscape background and animals. His landscapes of this period, such as
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370:, and with his confident self-portraits he pioneered them as well as autonomous subjects of art.
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1387:. Stabius also often acted as Dürer's and Maximilian's go-between for their financial problems.
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have become relevant recently. This nineteenth-century painting shows Dürer painting a mural at
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Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, Dürer was married to
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2761:, pen and brush, black ink with white lead on green prepared paper, 29 × 15 cm,
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across Europe through prints was undoubtedly an inspiration for major artists such as Raphael,
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1018:
647:
393:. This is reinforced by his theoretical treatises, which involve principles of mathematics for
342:
expanded especially the tonal range of his engravings; well-known engravings include the three
7127:
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to stay with another brother of Martin Schongauer, the goldsmith Georg. In 1493 Dürer went to
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6378:
6329:
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4384:
4313:
4279:
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4059:
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3111:
2820:
2735:, 1506, pen and ink on blue paper with highlights in gouache, 21,8 × 37,9 cm,
1611:
1402:
1383:
Dürer's exploration of space led to a relationship and cooperation with the court astronomer
1128:(1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the
801:
606:
414:
5801:
5761:
5661:
2533:, 1526, oil and paint on limewood, 51 × 37 cm, Gemäldegalerie, Berlin (557E)
1607:, was given by Dürer to the City of Nuremberg—although he was given 100 guilders in return.
7320:
7315:
7034:
6905:
6786:
6399:
5426:
4921:
Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530
4916:
4557:
3293:
2255:
2071:
2041:
1627:
1426:, Lisbon. Dürer's most important painting created during his fourth and last major journey.
390:
178:
5256:
5220:
3106:; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe;
561:, the leading engraver of Northern Europe, but who died shortly before Dürer's arrival at
500:
and a number of offices in Germany and abroad. Koberger's most famous publication was the
330:, his preferred technique in his later prints, altarpieces, portraits and self-portraits,
8:
7259:
7184:
6923:
6554:
6173:
6102:
5918:
5641:
2508:
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1463:
1396:
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1033:
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951:
848:
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386:
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2229:
His engravings seem to have had an intimidating effect upon his German successors; the "
955:(1503), watercolour and gouache w/highlighting, 40,8 × 31,5 cm, Albertina
7264:
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1959:. The third book applies these principles of geometry to architecture, engineering and
1749:
1706:
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1295:
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743:
547:
After completing his apprenticeship, Dürer followed the common German custom of taking
446:
367:
317:
289:
6457:
3611:
1947:
The second book moves onto two-dimensional geometry, i.e. the construction of regular
1918:). The first book focuses on linear geometry. Dürer's geometric constructions include
506:, published in 1493 in German and Latin editions. It contained an unprecedented 1,809
6985:
6959:
6841:
6502:
5649:
5626:
5529:
5215:
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5030:
5015:
5000:
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4953:
4938:
4924:
4907:
4888:
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4854:
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4811:
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4696:
4647:
4458:
4424:
4390:
4356:
4285:
4174:
4140:
3931:
3872:
3838:
3702:
3632:
3491:
3438:
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3250:
3169:
2565:
2239:
2067:
1996:
1748:, although this interpretation has been questioned. The delaying of the engraving of
1702:
1603:
1507:
1476:
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1342:
out of a peasant any day, but he could not make an artist like Dürer out of a noble.
1299:
1206:
936:
755:
582:
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474:
339:
313:
281:
84:
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4383:
Lachièze-Rey, Marc; Luminet, Jean-Pierre; France, Bibliothèque nationale de (2001).
4167:
Landfester, Manfred; Cancik, Hubert; Schneider, Helmuth; Gentry, Francis G. (2006).
2491:
1009:
In Italy, he returned to painting, at first producing a series of works executed in
7135:
6826:
6776:
6722:
6677:
6606:
6406:
6186:
5972:
5777:
5206:
5082:
4793:
4227:
3674:"Freedom and Resistance in the Act of Engraving (or, Why Dürer Gave up on Etching)"
3125:
3107:
2343:
2234:
2021:
1968:
1698:
1693:
1666:
1527:
1515:
1490:
1384:
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651:
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309:
305:
243:
182:
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6656:
6642:
2226:, all of whom collaborated with printmakers to promote and distribute their work.
828:
638:
and design woodcuts in the German style, based on the works of Schongauer and the
589:) was painted at this time, probably to be sent back to his fiancée in Nuremberg.
7269:
6997:
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6203:
6141:
5785:
5243:
5159:
4678:
4350:
4168:
4084:
4009:
3900:
3755:
3696:
3650:
3524:
3432:
2662:, dark brown ink and watercolour, 31,9 × 24,1 cm, Albertina (3066)
2469:
2278:
2206:
1980:
1935:
1765:
1728:
1651:
1631:
1615:
1523:
706:
655:
374:
6791:
4484:
Bartrum, 204. Quotation from a letter to the secretary of the Elector of Saxony.
4312:
Conway, Sir William Martin; Conway, William Martin Sir; Dürer, Albrecht (1889).
3958:
Conway, Sir William Martin; Conway, William Martin Sir; Dürer, Albrecht (1889).
2819:, 1515, the only surviving printing plate, iron, 22.7 × 16.1 cm,
6836:
6811:
6757:
6742:
6698:
6569:
6561:
6442:
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5363:
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5211:
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3385:
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3066:
2613:
2290:
2230:
2055:
1992:
1972:
1733:
1531:
1455:
1185:
1042:
763:
658:, whose work he produced copies of while training. Dürer probably also visited
497:
493:
224:
6021:
4967:
4420:
Scandalous Error: Calendar Reform and Calendrical Astronomy in Medieval Europe
3540:
Schaar, Eckhard. "A Newly Discovered Proportional Study by Dürer in Hamburg".
3213:
605:
generally happy one, as indicated by a letter of Dürer in which he quipped to
7304:
7254:
7233:
7170:
7022:
6816:
6727:
6548:
6508:
6492:
6413:
6385:
6253:
6243:
6168:
6156:
5833:
5565:
5131:
5097:, eds. J. Hendrix and L.Holm, Farnham Surrey: Ashgate, 2016, pp. 27–44,
5029:, translated by R.T. Nichol from the Latin text, Dover Publ., New York 1965.
3192:
2051:
1756:, in his last years he evaluated and questioned the role of art in religion.
1719:, the artist can be seen to distance himself somewhat from the movement..."
1569:
1431:
1331:
1102:
Between 1507 and 1511 Dürer worked on some of his most celebrated paintings:
794:
697:
418:
6031:
4950:
Im Paradies: Adam und Eva und der Sündenfall – Albrecht Dürers Darstellungen
2147:, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in
454:
7046:
6945:
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6707:
6702:
6600:
6521:
6437:
6356:
6260:
6233:
6198:
6131:
5849:
4803:
3560:
Kotková, Olga. "'The Feast of the Rose Garlands': What Remains of Dürer?".
3409:
3005:
2282:
2223:
2169:
1783:
1511:
1485:
1471:
1315:
1180:
1073:
659:
458:
453:. The couple had eighteen children together, of which only three survived.
442:
362:
55:
4386:
Celestial Treasury: From the Music of the Spheres to the Conquest of Space
4170:
Brill's New Pauly: Encyclopaedia of the Ancient World. Classical tradition
1764:
In all his theoretical works, in order to communicate his theories in the
1413:
300:. He was in contact with the major Italian artists of his time, including
7095:
6868:
6806:
6717:
6712:
6312:
6275:
3103:
2889:, 1518, etching, 21.7 × 32 cm (Metropolitan Museum of Art)
2271:
2059:
1643:
1642:
were published at Nuremberg in 1525 and was the first book for adults on
1307:
1141:
894:
728:
623:
570:
470:
421:
389:, has secured his reputation as one of the most important figures of the
331:
137:
4885:
Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith
2916:, carved pearwood block, 39.4 × 28.3 × 2.6 cm,
2384:, 1508, oil from wood transferred to canvas, 99 × 87 cm,
6916:
6821:
6771:
6351:
6146:
5910:
5184:
4552:(2010), "Albrecht Dürer between Agnes Frey and Willibald Pirckheimer",
3549:
3008:, which features a door as a pun on his name, and the winged bust of a
2137:
Various Lessons on the Fortification of Cities, Castles, and Localities
1988:
1984:
1960:
1927:
1826: in this section. Unsourced material may be challenged and removed.
1773:
1753:
1723:
1552:, unfinished oil painting on linden wood, 58.1 × 47 cm,
931:
842:
837:
601:
578:
378:
335:
194:
6071:
5135:
3651:"Dürer's hemispheres of 1515 – the first European printed star charts"
3569:
2270:
of about 1570 to 1630, in the early nineteenth century, and in German
754:
During the same period Dürer perfected the difficult art of using the
6880:
6467:
6447:
6116:
3058:
2144:
2033:
1964:
1745:
1741:
1680:
1519:
1258:
1153:
675:
566:
434:
425:
76:
2587:, 1495, watercolour with highlights, 22.3 × 22.2 cm,
1801:
6693:
6295:
6193:
6121:
3189:"Albrecht – Deutsch – Langenscheidt Französisch-Deutsch Wörterbuch"
2092:
1899:
1654:. The other, a work on city fortifications, was published in 1527.
1459:
635:
554:
132:
4820:. "Dürer and the Reformation: The Problem of the Re-dating of the
4083:
Bledsoe, Albert Taylor; Herrick, Sophia M'Ilvaine Bledsoe (1965).
3318:"Albrecht Dürer (1471 -1528) and Hungary - Hungarian-Ottoman Wars"
3137:
In March of this year, two months before his mother died, he drew
3102:
6595:
6334:
6248:
6126:
5265:
5227:
Nuremberg, with a comprehensive bibliography since 1971 (German).
5173:
5043:"Schlaglicht: Die einzige erhaltene Radierplatte Albrecht Dürers"
4900:
The Complete Engravings, Etchings and Drypoints of Albrecht Durer
2859:, 1521, 11.6 × 7.4 cm (Metropolitan Museum of Art)
2780:, spring 1514, charcoal on paper, 42.2 × 30.6 cm,
2561:
2199:Οπλοδιδασκαλια sive Armorvm Tractandorvm Meditatio Alberti Dvreri
1971:. In typography, Dürer depicts the geometric construction of the
1952:
1948:
1919:
1647:
1495:
1451:
1447:
1210:
1096:
1010:
809:
507:
301:
277:
111:
7192:
Viewpoints: Mathematical Perspective and Fractal Geometry in Art
4061:
Maximilian I, Holy Roman Emperor: Stanhope Historical Essay 1901
2874:, 1524, 19 × 12.4 cm (Metropolitan Museum of Art)
2141:
Etliche Underricht zu Befestigung der Stett, Schloss und Flecken
747:, which he did not finish for some years. Neither these nor the
727:
in the same year, and a little later, a series of eleven on the
521:
6300:
4679:
Instruction sur la fortification des villes: bourgs et châteaux
4352:
Maximilian I. (1459–1519): Wahrnehmung – Übersetzungen – Gender
4166:
3927:
Perfection's Therapy: An Essay on Albrecht Dürer's Melencolia I
2702:
2701:, 1495, brush and pen on paper, 31.6 × 21.2 cm,
2678:
2588:
2473:
2450:
2219:
2148:
1956:
1737:
1467:
1439:
1202:
1189:
1140:
series. The post-Venetian woodcuts show Dürer's development of
1136:, both published in 1511 together with a second edition of the
1053:
663:
586:
562:
536:
532:
482:
450:
366:(1514). His watercolours mark him as one of the first European
272:; 21 May 1471 – 6 April 1528), sometimes spelled in English as
2159:), published by Christian Wechel (Wecheli/Wechelus) in Paris.
1999:
semi-regular solids, as well as several of his own invention.
1658:
were published posthumously, shortly after his death in 1528.
935:, 1502, watercolour and gouache, 25 × 22.5 cm,
255:
252:
6285:
3218:
3009:
2584:
1769:
1481:
1443:
1014:
574:
540:
478:
469:
at the age of fifteen in 1486. A self-portrait, a drawing in
4454:
The Spatial Reformation: Euclid Between Man, Cosmos, and God
2844:/02, 33.5 × 23.3 cm (National Gallery of Art)
1063:
614:), and the nature of his correspondence with close friends.
6307:
6290:
3077:(1488) and that of Wolgemut's workshop. Panofsky (1945), 21
486:
2612:, watercolour and gouache, 26.2 × 35.6 cm,
249:
5195:
from the original work. Historical Anatomies on the Web.
4382:
3070:
2494:, Berlin (557G). The abstract background suggests the sea
1408:
914:(1504), copper engraving, 29.8 × 21.1 cm (
893:(1496), copper engraving, 24.7 × 19.1 cm (
4836:
The Moment of Self-Portraiture in German Renaissance Art
3403:
3214:"Duden | Dürer | Rechtschreibung, Bedeutung, Definition"
2681:, 19.3 × 16.8 cm, National Gallery of Art
2428:, 1490, oil on fir wood, 47.2 × 35.7 cm,
2062:. The fourth book is devoted to the theory of movement.
1908:
Underweysung der Messung mit dem Zirckel und Richtscheyt
1017:. These include portraits and altarpieces, notably, the
5071:"Navel Gazing. On Albrecht Dürer's Adam and Eve (1504)"
1352:, 1515, woodcut print, 61.3 × 45.6 cm, (
1228:(1519), oil on lime wood, 74 × 61,5 cm,
983:
on blue paper, 29.1 × 19.7 cm, Albertina
513:
4798:
Simiolus: Netherlands Quarterly for the History of Art
3410:
Harry John Wilmot-Buxton; Edward John Poynter (1881).
3247:
Substantiv-Derivation in Den Schriften Albrecht Dürers
2468:, 1499, oil on limewood, 49.6 × 39 cm,
2363:, 1506, oil on poplar, 64.3 × 80.3 cm,
2197:
as his reference, his workshop produced the extensive
1422:(1521), oil on oakwood, 59. × 48.5 cm,
1378:
1265:. The design program and explanations were devised by
1147:
Other works from this period include the thirty-seven
988:
334:
and books. The woodcuts series are stylistically more
7431:
People celebrated in the Lutheran liturgical calendar
5068:
4838:. Chicago/London: University of Chicago Press, 1993.
4747:"Twice Stolen, Twice Found: A Case of Art On the Lam"
4627:, edited by Rene Taton, translated by A. J. Pomerans.
2449:, 1490, oil on panel, 47.5 × 39.5 cm,
2209:
are among the highest-quality in any fencing manual.
1540:
1442:. Dürer journeyed with his wife and her maid via the
617:
5981:
The Virgin and Child with a Flower on a Grassy Bench
5075:
The International Journal of Arts Theory and History
3905:
E.P. Goldschmidt & Company, Limited. p. 125
2974:, 1498, 39.5 × 28.5 cm, (NGA, 142352)
2490:
1506, oil on poplar, 28.5 × 21.5 cm,
1665:(purchased in 1509 from the heirs of the astronomer
650:, with his interest in the proportions of the body;
4873:. Princeton, NJ: Princeton University Press, 1945.
4330:
3474:, University of Chicago Press, 2015, p. 332, n. 93.
2281:commemorates Dürer annually on 6 April, along with
1736:theme, focusing as it does on Christ espousing the
1722:Dürer's later works have also been claimed to show
1002:(1506), oil on panel, 162 × 192 cm,
581:, where he would have experienced the sculpture of
246:
27:
German painter, printmaker and theorist (1471–1528)
7089:The Drawing of Geometric Patterns in Saracenic Art
2342:, oil on pearwood, 23.1 × 17.4 cm,
669:
585:. Dürer's first painted self-portrait (now in the
7224:Goudreau Museum of Mathematics in Art and Science
4311:
3957:
3486:Lee, Raymond L. & Alistair B. Fraser. (2001)
3459:Albrecht Dürer and the Epistolary Mode of Address
3353:The Moment of Self-Portraiture in Renaissance Art
3302:. London: Seeley, Jackson and Halliday. pp.
2002:
1283:, the program of which was worked out in 1512 by
7302:
5965:Portrait of the Artist's Mother at the Age of 63
5146:. Vol. 8 (11th ed.). pp. 697–703.
4744:
4457:. University of Pennsylvania Press. p. 98.
2778:Portrait of the Artist's Mother at the Age of 63
121:Adalbert Ajtósi, Albrecht Durer, Albrecht Duerer
4828:, Vol. 58, No. 3, September 1976, pp. 368–373.
3430:
2151:. In 1535 it was also translated into Latin as
1941:Libellus super viginti duobus elementis conicis
1360:This story and a 1849 painting depicting it by
5012:Dürers Nacktheit – Das Weimarer Selbstbildnis.
4082:
3128:as "very old, but still the best in painting".
2425:Portrait of Dürer’s Mother Barbara, née Holper
1350:The Northern Hemisphere of the Celestial Globe
762:, which the Italian Renaissance art historian
424:drawing by the thirteen-year-old Dürer, 1484.
7219:European Society for Mathematics and the Arts
6393:Mathematica: A World of Numbers... and Beyond
6087:
5281:
4796:. "The Portrait Diptych of Dürer's parents".
3698:The Renaissance: European Painting, 1400–1600
1967:but elaborates his own classical designs and
1732:woodcut has often been understood to have an
1561:
1334:, and Hans Tscherte (an imperial architect).
1251:became Dürer's major patron. He commissioned
531:(1493) by Albrecht Dürer, oil, originally on
6373:List of works designed with the golden ratio
4114:. Macmillan and Company, limited. p. 22
4057:
4007:
3806:"Erfolgreiche Medienarbeit für die Nachwelt"
3694:
3461:, University of Chicago Press, 2017, p. 179.
3424:
3339:Brand Philip & Anzelewsky (1978–79), 10.
3266:Brand Philip & Anzelewsky (1978–79), 11.
3089:Albrecht Dürer and the Venetian Renaissance,
2163:
1789:
1777:
1772:, Dürer used graphic expressions based on a
1686:
1216:
596:Dürer's sketch of his wife Agnes Frey (1494)
381:into Northern art, through his knowledge of
5810:Joachim and Anne Meeting at the Golden Gate
4536:
4534:
4532:
4530:
4348:
3830:
3381:
3012:(1523), 35.1 × 26.1 cm (MET)
2045:
1939:
1646:in German, as well as being cited later by
1122:(1509, for Jacob Heller of Frankfurt), and
874:, woodcut, 39.2 × 28.3 cm, (
6094:
6080:
5288:
5274:
5051:Saxon State and University Library Dresden
4980:: CS1 maint: location missing publisher (
4389:. Cambridge University Press. p. 86.
3871:. University of Texas Press. p. 120.
3837:. Greenhaven Publishing LLC. p. 254.
3525:"Johannesapokalypse in klassischen Comics"
3434:Encyclopedia of Gay Histories and Cultures
3379:
3377:
3375:
3373:
3371:
3369:
3367:
3365:
3363:
3361:
3061:as a frontispiece for Nicholaus Kessler's
2993:, 1510, 12.5 × 9.8 cm (NGA)
2040:system, which Dürer probably learned from
42:
6433:Cathedral of Saint Mary of the Assumption
5164:Sterling and Francine Clark Art Institute
4690:
4355:(in German). StudienVerlag. p. 245.
3735:. Seeley and Company, limited. p. 66
3672:Cohen, Brian D (September–October 2017).
3241:
3239:
3237:
1886:Learn how and when to remove this message
1064:Nuremberg and the masterworks (1507–1520)
485:, a relatively short distance across the
409:
5696:Portrait of the Artist Holding a Thistle
5244:Newspaper clippings about Albrecht Dürer
4947:
4527:
4423:. Oxford University Press. p. 278.
4008:Bongard, Willi; Mende, Matthias (1971).
3868:Nuremberg, a Renaissance City, 1500–1618
3778:
3631:. Brill Academic Publishers, 2010. 116.
3288:
3286:
2179:
2128:
2008:
1671:
1544:
1412:
1344:
1235:
1220:
1080:
1067:
1031:. This was the altar-piece known as the
992:
723:. He made the first seven scenes of the
696:
591:
520:
437:who by 1455 had moved to Nuremberg from
413:
6979:Vier Bücher von Menschlicher Proportion
6101:
5187:Vier Bücher von menschlicher Proportion
5110:The Complete Woodcuts of Albrecht Durer
4416:
4281:Mercator: The Man who Mapped the Planet
4253:"Albrecht Dürer gibt weiter Rätsel auf"
4200:
4139:. Parkstone International. p. 36.
4107:
4032:
3923:
3803:
3760:. Tudor Publishing Company. p. 233
3358:
3342:
2512:, 1521, 45.5 × 31.5 cm,
2212:
2089:Vier Bücher von menschlicher Proportion
2030:Vier Bücher von menschlicher Proportion
14:
7303:
5395:Hercules Killing the Stymphalian Birds
5130:
4800:, Volume 10, No. 1, 1978–79, pp. 5–18.
4779:. London: British Museum Press, 2002.
4718:edited by Scot A. Kinnaman, CPH, 2010.
4450:
4039:. J. M. Dent & Company. p. 73
3482:
3480:
3292:
3234:
2948:, 39 × 28 cm, (printed
2446:Albrecht Dürer the Elder with a Rosary
1409:Journey to the Netherlands (1520–1521)
717:is dated 1498, as is his engraving of
713:His series of sixteen designs for the
6075:
5269:
5262:, 20 September 2019 – 6 January 2020.
4923:. London: Thames & Hudson, 2011.
4645:
4336:
4277:
4058:Seton-Watson, Robert William (1902).
3982:
3864:
3779:Innes, Mary; Kay, Charles De (1911).
3753:
3671:
3661:from the original on 30 October 2023.
3629:Enduring Loss in Early Modern Germany
3612:Knight, Death, and the Devil, 1513–14
3536:
3534:
3437:. Taylor & Francis. p. 262.
3333:
3283:
3163:
3159:
3157:
3069:argues that this print combined the "
2312:. The drawings were later recovered.
2304:– along with other works of art were
2186:Meditation on the Handling of Weapons
1776:, craftsmen's language. For example,
267:
5178:The Strange World of Albrecht Dürer.
5041:Ehrl, Franziska (28 February 2020).
5040:
4999:. Princeton University Press, 1990.
4729:"'What is a Commemoration...', ELCA"
4132:
3899:Co, E. P. Goldschmidt & (1925).
3728:
3564:, Volume 144, No. 1186, 2002. 4–13.
3355:, University of Chicago Press, 1993.
3276:
3274:
3272:
3260:
3029:List of engravings by Albrecht Dürer
2472:, München. Krel was a merchant from
2300:, valued at about $ 10 million, and
1983:is based upon an entirely different
1951:. Here Dürer favours the methods of
1824:adding citations to reliable sources
1795:
1759:
1530:, though he did not, it seems, meet
7164:Journal of Mathematics and the Arts
5327:Portrait of Frederick III of Saxony
5319:Portrait Diptych of Dürer's Parents
5166:. 14 November 2010 – 13 March 2011
5152:The Strange World of Albrecht Dürer
4623:A. Koyre, "The Exact Sciences", in
4502:Landau & Parshall: 350–354 and
3648:
3544:, vol. 36, no. 1, 1998. pp. 59–66.
3477:
3324:
3024:List of paintings by Albrecht Dürer
2488:Portrait of a Young Venetian Woman,
2296:In 1993, two of Dürer's drawings –
2058:; here Dürer also deals with human
1979:. However, his construction of the
1379:Cartographic and astronomical works
1273:, with Dürer as designer-in-chief.
989:Second journey to Italy (1505–1507)
326:Dürer's vast body of work includes
24:
7396:German people of Hungarian descent
7178:Making Mathematics with Needlework
5746:The Holy Family with the Dragonfly
5538:Portrait of Hieronymus Holzschuher
5443:Portrait of a Young Venetian Woman
5295:
5087:10.18848/2326-9960/CGP/v12i01/1-10
4989:
4870:The Life and Art of Albrecht Dürer
4650:. Hieronymus Andreae Formschneider
4315:Literary Remains of Albrecht Dürer
4201:Cascone, Sarah (10 January 2020).
3964:. University Press. pp. 26–30
3961:Literary Remains of Albrecht Dürer
3898:
3785:. G. P. Putnam's sons. p. 214
3531:
3413:German, Flemish and Dutch Painting
3154:
3034:List of woodcuts by Albrecht Dürer
2699:Study of a Female Nude from Behind
2530:Portrait of Hieronymus Holzschuher
2123:Dürer's study of human proportions
2109:multiview orthographic projections
1740:, as well as the inclusion of the
1709:from whom Dürer received Luther's
1656:The Four Books on Human Proportion
1601:beside him. This last great work,
1541:Final years, Nuremberg (1521–1528)
618:First journey to Italy (1494–1495)
316:, and from 1512 was patronized by
25:
7452:
7004:I quattro libri dell'architettura
6027:Albrecht Dürer the Elder (father)
5770:Saint Michael Fighting the Dragon
5235:Heilbrunn Timeline of Art History
5221:The Early Duerer Research Project
5124:
4745:Ralph Blumenthal (19 July 2001).
3804:Schäfer, Sandra (27 March 2019).
3269:
2872:Portrait of Willibald Pirckheimer
2653:Mary among a Multitude of Animals
2564:, 36.8 × 26.9 cm,
2310:National Art Museum of Azerbaijan
1744:cup, an expression of Protestant
1114:(1508, for Frederick of Saxony),
679:including secular scenes such as
7283:
7282:
6528:Self-portrait in a Convex Mirror
6212:
5754:The Holy Family with Three Hares
5564:
5491:Portrait of Emperor Maximilian I
5483:Virgin and Child with Saint Anne
5350:Portrait of Dürer's Father at 70
5203:Works by or about Albrecht Dürer
5095:Architecture and the Unconscious
4625:The Beginnings of Modern Science
3930:. MIT Press. pp. 155, 258.
3732:The Engravings of Albrecht Dürer
3701:. Studio Editions. p. 261.
3472:Seeing Sodomy in the Middle Ages
3416:. Scribner and Welford. p.
3166:Longman Pronunciation Dictionary
3017:
2998:
2979:
2964:
2925:
2907:The Martyrdom of Saint Catherine
2899:
2879:
2864:
2849:
2827:
2809:
2805:Copper engravings and an etching
2789:
2770:
2744:
2737:Bibliothèque nationale de France
2725:
2710:
2691:
2667:
2645:
2621:
2596:
2573:
2543:
2521:
2499:
2480:
2458:
2437:
2416:
2393:
2372:
2351:
2325:
2116:
2100:
2080:
1991:. Here Dürer discusses the five
1912:Instructions for Measuring with
1800:
1241:The Triumphal Arch of Maximilian
1232:, Vienna (Inv. GG 825)
960:
943:
923:
902:
883:
860:
242:
223:
6054:Alte Pinakothek (Self-Portrait)
5514:Portrait of Bernhart von Reesen
5197:US National Library of Medicine
4849:Landau David; Parshall, Peter.
4738:
4721:
4709:
4684:
4681:, trans A. Rathau (Paris 1870).
4671:
4662:
4639:
4630:
4617:
4608:
4599:
4590:
4581:
4572:
4563:
4543:
4518:
4509:
4496:
4487:
4478:
4444:
4417:Nothaft, C. Philipp E. (2018).
4410:
4376:
4342:
4305:
4271:
4245:
4220:
4194:
4160:
4126:
4101:
4076:
4051:
4026:
4001:
3976:
3951:
3917:
3892:
3858:
3824:
3797:
3772:
3747:
3722:
3688:
3665:
3642:
3621:
3604:
3595:
3586:
3574:
3554:
3517:
3501:
3464:
3451:
3131:
3094:
3080:
3051:
2972:Four Horsemen of the Apocalypse
2604:Landscape with a Woodland Pool,
1811:needs additional citations for
1373:St. Stephen's Cathedral, Vienna
1090:(1515), National Gallery of Art
720:St. Michael Fighting the Dragon
670:Return to Nuremberg (1495–1505)
203:
81:Free Imperial City of Nuremberg
7239:National Museum of Mathematics
6991:Regole generali d'architettura
5688:Self-Portrait at the Age of 13
5069:Hart, Vaughan Anthony (2016).
5027:Of the Just Shaping of Letters
4693:Albrecht Dürer – Das Fechtbuch
4677:For a French translation, see
4318:. University Press. p. 27
3865:Smith, Jeffrey Chipps (2014).
3695:McCorquodale, Charles (1994).
3680:. Vol. 7 No. 3. Archived from
3618:. Retrieved 11 September 2020.
3390:Albrecht Dürer and his Legacy,
3310:
3206:
3181:
3057:Here he produced a woodcut of
2135:In 1527, Dürer also published
2026:Four Books on Human Proportion
2015:Four Books on Human Proportion
2004:Four Books on Human Proportion
1963:. In architecture Dürer cites
1169:Handbook of a Christian Knight
13:
1:
5985:
5946:
5931:
5794:Saint Sebastian at the Column
5654:
5631:
5616:
5601:
5586:
5503:
5467:Martyrdom of the Ten Thousand
5408:
5384:
5368:
5339:
5260:exhibition, Albertina, Vienna
5231:"Albrecht Dürer (1471–1528)".
5055:Heidelberg University Library
4777:Albrecht Dürer and His Legacy
3924:Merback, Mitchell B. (2017).
3039:
2949:
2942:
2910:
2838:
2817:Christ on the Mount of Olives
2755:
2656:
2634:
2606:
2554:
2381:Martyrdom of the Ten Thousand
2336:
1640:The Four Books on Measurement
1424:Museu Nacional de Arte Antiga
1111:Martyrdom of the Ten Thousand
973:
868:
779:
684:
7341:16th-century German painters
7331:15th-century German painters
6764:Garden of Cosmic Speculation
5546:Portrait of Johann Kleberger
5335:St. Jerome in the Wilderness
5112:, Dover Publications, 2000,
5014:Rhema Verlag, Münster 2012,
4014:. Inter Nationes. p. 25
3392:British Museum Press, 2002,
3148:
3118:. New York: Reynal and Co.,
3116:The Complete Work of Raphael
2367:, Madrid (134 (1934.38)
404:
102:Nuremberg, Holy Roman Empire
7:
7406:German Renaissance painters
7361:Catholic decorative artists
5842:Knight, Death and the Devil
5248:20th Century Press Archives
5225:Germanisches Nationalmuseum
4997:Albrecht Dürer: A Biography
4451:Sauter, Michael J. (2018).
4349:Noflatscher, Heinz (2011).
4108:Nüchter, Friedrich (1911).
3902:Rare and Valuable Books ...
3583:, The J. Paul Getty Museum.
3114:; Golzio, Vincenzo (1969).
2987:The Expulsion from Paradise
2835:Nemesis (The Great Fortune)
2514:Gemäldegalerie Alte Meister
2430:Germanisches Nationalmuseum
2333:St Jerome in the Wilderness
1705:, Melanchthon, Erasmus and
1438:, who was to be crowned at
1159:Knight, Death and the Devil
916:Morgan Library & Museum
351:Knight, Death and the Devil
10:
7457:
6281:Islamic geometric patterns
6037:Anton Koberger (godfather)
5239:Metropolitan Museum of Art
4995:Campbell Hutchison, Jane.
4937:. Cologne: Taschen, 2010.
4898:Strauss, Walter L. (ed.).
4769:
3616:Metropolitan Museum of Art
3120:William Morrow and Company
3063:Epistolare beati Hieronymi
2797:Head of an 93-Year-Old Man
2782:Kupferstichkabinett Berlin
2551:Innsbruck Castle Courtyard
2315:
2175:
1554:Metropolitan Museum of Art
1188:chandeliers, combining an
7278:
7247:
7201:
7155:
7102:A Mathematician's Apology
7062:
7015:
6898:
6861:
6854:
6686:
6539:
6485:
6476:
6423:
6365:
6221:
6210:
6109:
6045:
6014:
5998:
5957:Wing of a European Roller
5900:
5858:Saint Jerome in His Study
5722:
5679:
5573:
5562:
5522:Saint Jerome in His Study
5303:
4948:Hoffmann, Rainer (2021).
4883:Price, David Hotchkiss.
4691:Haegedorn, Dierk (2021).
3983:Allen, L. Jessie (1903).
3831:Streissguth, Tom (2007).
3514:(November–December 2012).
3168:(3rd ed.), Longman,
2752:Self-Portrait in the Nude
2630:Wing of a European Roller
2365:Thyssen-Bornemisza Museum
2244:Giovanni Battista Palumba
2047:De harmonica mundi totius
1904:Four Books on Measurement
1791:Four Books on Measurement
1687:Dürer and the Reformation
1593:, and two panels showing
1294:and includes woodcuts by
1217:Patronage of Maximilian I
1192:with a wooden sculpture.
1162:(1513, probably based on
357:Saint Jerome in his Study
269:[ˈʔalbʁɛçtˈdyːʁɐ]
231:
222:
217:
213:
188:
174:
146:
125:
117:
107:
91:
62:
41:
34:
7214:The Bridges Organization
5882:Large Triumphal Carriage
5669:Adoration of the Trinity
5554:Portrait of Jakob Muffel
5499:Portrait of Jakob Fugger
5435:Christ Among the Doctors
4646:Durer, Albrecht (1528).
4278:Crane, Nicholas (2010).
4257:Mittelbayerische Zeitung
4228:"AlbrECHT DÜRER? (2022)"
4089:. AMS Press. p. 114
3757:Dürer: His Life and Work
3431:George Haggerty (2013).
3245:Müller, Peter O. (1993)
3191:(in German and French).
3044:
2402:Adoration of the Trinity
2386:Kunsthistorisches Museum
2360:Christ Among the Doctors
1280:The Triumphal Procession
1230:Kunsthistorisches Museum
1226:Portrait of Maximilian I
1195:In 1515, he created his
1125:Adoration of the Trinity
1120:Assumption of the Virgin
876:Art Institute of Chicago
517:and marriage (1490–1494)
373:Dürer's introduction of
7421:Manuscript illuminators
7076:The Grammar of Ornament
7028:Nature's Harmonic Unity
6938:De prospectiva pingendi
5597:Seven Sorrows Polyptych
5475:The Suicide of Lucretia
5212:Works by Albrecht Dürer
5143:Encyclopædia Britannica
5137:"Dürer, Albrecht"
4560:, Philadelphia, 85–205.
4556:, ed. Larry Silver and
4064:. Constable. p. 96
4033:Headlam, Cecil (1900).
3601:Panofsky (1945), p. 44.
3562:The Burlington Magazine
3164:Wells, John C. (2008),
3087:Crawford Luber (in her
2957:National Gallery of Art
2763:Klassik Stiftung Weimar
2581:View of the Arco Valley
2466:Portrait of Oswolt Krel
2302:Sitting Mary With Child
2287:Lucas Cranach the Elder
1595:St. John with St. Peter
1577:Hieronymus Holtzschuher
1419:St. Jerome in His Study
1354:National Gallery of Art
1312:Lucas Cranach the Elder
1198:woodcut of a Rhinoceros
1178:, and the much-debated
1175:St. Jerome in His Study
1118:(1508), the altarpiece
1004:National Gallery Prague
979:), brush, ink and gray
739:Frederick III of Saxony
734:Seven Sorrows Polyptych
7411:German Roman Catholics
7356:Artists from Nuremberg
7336:16th-century engravers
7326:15th-century engravers
7229:Institute For Figuring
7141:The 'Life' of a Carpet
6966:A Treatise on Painting
6006:Albrecht Dürer's House
5927:Madonna of the Animals
5612:Paumgartner Altarpiece
5193:Selected pages scanned
5108:Wilhelm, Kurth (ed.).
5047:blog.arthistoricum.net
4578:Price (2003), 225–248.
4173:. Brill. p. 305.
4036:The Story of Nuremberg
3989:. Methuen. p. 180
3754:Brion, Marcel (1960).
3112:Castagnoli, Ferdinando
2733:Three Children's Heads
2189:
2164:
2046:
2017:
2013:Illustration from the
1940:
1778:
1683:
1677:Albrecht Dürer's House
1599:St. Paul with St. Mark
1562:
1557:
1427:
1357:
1244:
1233:
1091:
1078:
1039:Feast of Rose Garlands
1019:Paumgartner altarpiece
1006:
710:
648:Antonio del Pollaiuolo
597:
544:
429:
410:Early life (1471–1490)
7436:Renaissance engravers
7110:George David Birkhoff
7084:Ernest Hanbury Hankin
6952:De divina proportione
6932:Piero della Francesca
6911:Leon Battista Alberti
6498:Piero della Francesca
6137:Hyperboloid structure
5419:Adoration of the Magi
5403:Lamentation of Christ
5379:Lamentation of Christ
5364:Lot and His Daughters
5170:Dürer Prints Close-up
4917:Borchert, Till-Holger
4851:The Renaissance Print
4668:Panofsky (1945), 283.
4636:Panofsky (1945), 255.
4524:Panofsky (1945), 223.
4515:Panofsky (1945), 209.
4493:Borchert (2011), 101.
4284:. Orion. p. 74.
3729:Cust, Lionel (1905).
3592:Panofsky (1945), 135.
3249:, Walter de Gruyter.
3073:style" of Koberger's
2821:Bamberg State Library
2705:, Paris (INV 19058 R)
2183:
2143:). It was printed in
2130:Book on Fortification
2012:
1726:sympathies. His 1523
1675:
1622:, elector of Saxony;
1612:Willibald Pirckheimer
1548:
1416:
1348:
1239:
1224:
1201:which had arrived in
1084:
1071:
1060:and taken to Prague.
1024:Adoration of the Magi
996:
700:
607:Willibald Pirckheimer
595:
525:The earliest painted
524:
417:
7426:Mathematical artists
7391:German male painters
7035:Frederik Macody Lund
6906:Filippo Brunelleschi
6787:Hamid Naderi Yeganeh
6649:La condition humaine
6032:Hans Dürer (brother)
5427:Bagnacavallo Madonna
5176:, made to accompany
5158:14 July 2015 at the
4558:Jeffrey Chipps Smith
4133:Carl, Klaus (2013).
3684:on 11 November 2022.
3490:, Penn State Press.
3294:Heaton, Mrs. Charles
3122:. pp. 278, 407.
2388:, Wien (GG 835)
2256:Marcantonio Raimondi
2254:), or whole prints (
2213:Legacy and influence
2042:Francesco di Giorgio
1820:improve this article
1712:Babylonian Captivity
1628:Erasmus of Rotterdam
1302:, as well as Dürer.
1285:Marx Treitz-Saurwein
1116:Virgin with the Iris
1047:Emperor Maximilian I
800:The Venetian artist
391:Northern Renaissance
179:Northern Renaissance
7260:Mathematical beauty
7185:Rhythm of Structure
7128:Gödel, Escher, Bach
6924:De re aedificatoria
6555:The Ancient of Days
6174:Projective geometry
6103:Mathematics and art
5919:Great Piece of Turf
5890:Portrait of Erasmus
5712:Self-Portrait at 28
5704:Self-Portrait at 26
5642:Feast of the Rosary
5010:Demele, Christine.
4952:(in German). Wien.
4832:Koerner, Joseph Leo
4790:Brand Philip, Lotte
4554:The Essential Dürer
4086:The Southern Review
3782:Schools of Painting
3075:Lives of the Saints
2677:, 1526, gouache on
2509:Bernhard von Reesen
2432:Nuremberg (Gm 1160)
2321:Religious paintings
2274:from 1870 to 1945.
2203:Berlin Picture Book
2095:signature of artist
1995:, as well as seven
1930:. He also draws on
1624:Philipp Melanchthon
1614:, Cardinal-Elector
1564:sacra conversazione
1504:Margaret of Austria
1405:throughout Europe.
1271:Hieronymous Andreae
1034:Feast of the Rosary
999:Feast of the Rosary
952:Large Piece of Turf
849:Great Piece of Turf
703:self-portrait at 28
503:Nuremberg Chronicle
51:Self-portrait at 26
7401:German printmakers
7376:German draughtsmen
7366:Catholic engravers
7265:Patterns in nature
7122:Douglas Hofstadter
6748:Desmond Paul Henry
6738:Bathsheba Grossman
6670:The Swallow's Tail
6591:Giorgio de Chirico
6463:Sydney Opera House
6318:Croatian interlace
6022:Agnes Dürer (wife)
5826:Life of the Virgin
5662:Matthias Grünewald
5582:Dresden Altarpiece
4904:Dover Publications
4887:. Michigan, 2003.
4605:Price (2003), 254.
4569:Price (2003), 225.
3488:The Rainbow Bridge
3280:Bartrum, 93, n. 1.
2560:, watercolour and
2260:Agostino Veneziano
2252:Cristofano Robetta
2248:Benedetto Montagna
2190:
2018:
1707:Cornelius Grapheus
1684:
1620:Frederick the Wise
1558:
1484:(where he admired
1428:
1358:
1296:Albrecht Altdorfer
1254:The Triumphal Arch
1245:
1234:
1134:Life of the Virgin
1092:
1079:
1007:
802:Jacopo de' Barbari
744:Life of the Virgin
737:, commissioned by
711:
598:
545:
492:Dürer's godfather
430:
395:linear perspective
290:German Renaissance
7441:Woodcut designers
7371:Catholic painters
7298:
7297:
7151:
7150:
7115:Aesthetic Measure
6986:Sebastiano Serlio
6960:Leonardo da Vinci
6850:
6849:
6842:Margaret Wertheim
6503:Leonardo da Vinci
6069:
6068:
6057:(2000 photograph)
5650:Heller Altarpiece
5627:Jabach Altarpiece
5530:The Four Apostles
5312:List of paintings
5216:Project Gutenberg
5189:(Nuremberg, 1528)
5103:978-1-4724-5647-2
5025:Dürer, Albrecht,
5020:978-3-8688-7008-4
4959:978-3-412-52385-5
4943:978-3-8365-1348-7
4929:978-0-500-23883-7
4893:978-0-4721-1343-9
4812:Thames and Hudson
4794:Anzelewsky, Fedja
4775:Bartrum, Giulia.
4702:978-3-932077-50-0
4464:978-0-8122-9555-9
4430:978-0-19-252018-0
4396:978-0-521-80040-2
4362:978-3-7065-4951-6
4291:978-0-297-86539-1
4180:978-90-04-14221-3
4146:978-1-78160-625-4
3937:978-1-942130-00-0
3878:978-1-4773-0638-3
3844:978-0-7377-3216-0
3708:978-1-85891-892-1
3444:978-1-135-58513-6
3330:Brion (1960), 16.
3139:a portrait of her
3108:Becatti, Giovanni
2566:Albertina, Vienna
2346:, London (NG6563)
2298:Women's Bathhouse
2268:Dürer Renaissance
2240:Giulio Campagnola
2107:Dürer often used
2022:human proportions
1977:Italian precedent
1896:
1895:
1888:
1870:
1760:Theoretical works
1703:Andreas Karlstadt
1604:the Four Apostles
1582:Madonna and Child
1508:Bernard van Orley
1477:Madonna of Bruges
1300:Hans Springinklee
1207:Indian rhinoceros
1181:Melencolia I
1077:(1514), engraving
937:Albertina, Vienna
787:Pond in the Woods
674:On his return to
583:Nikolaus Gerhaert
559:Martin Schongauer
475:Albertina, Vienna
473:, is dated 1484 (
368:landscape artists
314:Leonardo da Vinci
235:
234:
85:Holy Roman Empire
16:(Redirected from
7448:
7416:Heraldic artists
7386:German Lutherans
7381:German engravers
7286:
7285:
7136:Nikos Salingaros
6859:
6858:
6827:Hiroshi Sugimoto
6777:Robert Longhurst
6723:Helaman Ferguson
6678:Crockett Johnson
6607:Circle Limit III
6576:Danseuse au café
6483:
6482:
6453:Pyramid of Khufu
6216:
6096:
6089:
6082:
6073:
6072:
5990:
5987:
5973:Head of a Walrus
5951:
5948:
5936:
5933:
5778:The Four Witches
5733:List of woodcuts
5659:
5656:
5636:
5633:
5621:
5618:
5606:
5603:
5592:–1497/1503–1504)
5591:
5588:
5568:
5508:
5505:
5413:
5410:
5389:
5386:
5373:
5370:
5344:
5341:
5290:
5283:
5276:
5267:
5266:
5207:Internet Archive
5185:Albrecht Dürer:
5147:
5139:
5090:
5065:
5063:
5061:
4985:
4979:
4971:
4826:The Art Bulletin
4764:
4763:
4761:
4759:
4742:
4736:
4735:
4733:
4725:
4719:
4713:
4707:
4706:
4688:
4682:
4675:
4669:
4666:
4660:
4659:
4657:
4655:
4643:
4637:
4634:
4628:
4621:
4615:
4614:Harbison (1976).
4612:
4606:
4603:
4597:
4594:
4588:
4587:Wolf (2010), 74.
4585:
4579:
4576:
4570:
4567:
4561:
4547:
4541:
4540:Panofsky (1945).
4538:
4525:
4522:
4516:
4513:
4507:
4500:
4494:
4491:
4485:
4482:
4476:
4475:
4473:
4471:
4448:
4442:
4441:
4439:
4437:
4414:
4408:
4407:
4405:
4403:
4380:
4374:
4373:
4371:
4369:
4346:
4340:
4334:
4328:
4327:
4325:
4323:
4309:
4303:
4302:
4300:
4298:
4275:
4269:
4268:
4266:
4264:
4249:
4243:
4242:
4240:
4238:
4224:
4218:
4217:
4215:
4213:
4198:
4192:
4191:
4189:
4187:
4164:
4158:
4157:
4155:
4153:
4130:
4124:
4123:
4121:
4119:
4105:
4099:
4098:
4096:
4094:
4080:
4074:
4073:
4071:
4069:
4055:
4049:
4048:
4046:
4044:
4030:
4024:
4023:
4021:
4019:
4005:
3999:
3998:
3996:
3994:
3980:
3974:
3973:
3971:
3969:
3955:
3949:
3948:
3946:
3944:
3921:
3915:
3914:
3912:
3910:
3896:
3890:
3889:
3887:
3885:
3862:
3856:
3855:
3853:
3851:
3828:
3822:
3821:
3819:
3817:
3801:
3795:
3794:
3792:
3790:
3776:
3770:
3769:
3767:
3765:
3751:
3745:
3744:
3742:
3740:
3726:
3720:
3719:
3717:
3715:
3692:
3686:
3685:
3669:
3663:
3662:
3646:
3640:
3627:Tatlock, Lynne.
3625:
3619:
3608:
3602:
3599:
3593:
3590:
3584:
3581:Giovanni Bellini
3578:
3572:
3558:
3552:
3538:
3529:
3528:
3521:
3515:
3505:
3499:
3484:
3475:
3468:
3462:
3457:Brisman, Shira,
3455:
3449:
3448:
3428:
3422:
3421:
3407:
3401:
3383:
3356:
3346:
3340:
3337:
3331:
3328:
3322:
3321:
3314:
3308:
3307:
3290:
3281:
3278:
3267:
3264:
3258:
3243:
3232:
3231:
3229:
3227:
3210:
3204:
3203:
3201:
3199:
3185:
3179:
3178:
3161:
3142:
3135:
3129:
3126:Giovanni Bellini
3124:Dürer describes
3123:
3098:
3092:
3084:
3078:
3055:
3002:
2983:
2968:
2954:
2953: 1498–1500
2951:
2947:
2944:
2933:The Flagellation
2929:
2915:
2912:
2903:
2883:
2868:
2853:
2843:
2840:
2831:
2813:
2793:
2774:
2760:
2757:
2748:
2729:
2714:
2695:
2675:Tuft of Cowslips
2671:
2661:
2658:
2649:
2639:
2636:
2625:
2611:
2608:
2600:
2577:
2559:
2556:
2547:
2525:
2516:, Dresden (1871)
2503:
2484:
2462:
2441:
2420:
2404:(Landauer Altar)
2397:
2376:
2355:
2344:National Gallery
2341:
2338:
2329:
2235:Lucas van Leyden
2167:
2120:
2104:
2084:
2049:
2020:Dürer's work on
1943:
1898:Dürer's work on
1891:
1884:
1880:
1877:
1871:
1869:
1835:"Albrecht Dürer"
1828:
1804:
1796:
1781:
1694:Nicholas Kratzer
1667:Bernhard Walther
1567:
1528:Tommaso Vincidor
1516:Gerard Horenbout
1491:Ghent Altarpiece
1464:'s-Hertogenbosch
1400:
1392:Konrad Heinfogel
1385:Johannes Stabius
1370:
1328:Konrad Peutinger
1324:Johannes Stabius
1293:
1277:was followed by
1267:Johannes Stabius
978:
975:
964:
947:
927:
906:
891:The Prodigal Son
887:
873:
870:
867:The Men's Bath,
864:
784:
781:
731:and saints. The
689:
686:
652:Lorenzo di Credi
644:Giovanni Bellini
640:Housebook Master
498:printing-presses
467:Michael Wolgemut
399:body proportions
387:German humanists
375:classical motifs
348:(master prints)
310:Fra Luca Pacioli
306:Giovanni Bellini
271:
266:
262:
261:
258:
257:
254:
251:
248:
227:
207:
205:
183:High Renaissance
149:
118:Other names
98:
72:
70:
46:
32:
31:
21:
7456:
7455:
7451:
7450:
7449:
7447:
7446:
7445:
7301:
7300:
7299:
7294:
7274:
7270:Sacred geometry
7243:
7209:Ars Mathematica
7197:
7147:
7058:
7011:
6998:Andrea Palladio
6894:
6887:De architectura
6846:
6802:Antoine Pevsner
6782:Jeanette McLeod
6733:Susan Goldstine
6682:
6541:
6535:
6472:
6458:Sagrada Família
6419:
6361:
6229:Algorithmic art
6217:
6208:
6204:Wallpaper group
6142:Minimal surface
6105:
6100:
6070:
6065:
6041:
6010:
5994:
5988:
5949:
5934:
5902:
5896:
5786:The Sea Monster
5724:
5718:
5691:(drawing, 1484)
5675:
5657:
5634:
5619:
5604:
5589:
5569:
5560:
5506:
5411:
5387:
5371:
5342:
5299:
5294:
5258:Albrecht Dürer,
5160:Wayback Machine
5127:
5059:
5057:
4992:
4990:Further reading
4973:
4972:
4960:
4933:Wolf, Norbert.
4865:Panofsky, Erwin
4818:Harbison, Craig
4772:
4767:
4757:
4755:
4743:
4739:
4731:
4727:
4726:
4722:
4716:Lutheranism 101
4714:
4710:
4703:
4689:
4685:
4676:
4672:
4667:
4663:
4653:
4651:
4644:
4640:
4635:
4631:
4622:
4618:
4613:
4609:
4604:
4600:
4595:
4591:
4586:
4582:
4577:
4573:
4568:
4564:
4548:
4544:
4539:
4528:
4523:
4519:
4514:
4510:
4501:
4497:
4492:
4488:
4483:
4479:
4469:
4467:
4465:
4449:
4445:
4435:
4433:
4431:
4415:
4411:
4401:
4399:
4397:
4381:
4377:
4367:
4365:
4363:
4347:
4343:
4335:
4331:
4321:
4319:
4310:
4306:
4296:
4294:
4292:
4276:
4272:
4262:
4260:
4251:
4250:
4246:
4236:
4234:
4226:
4225:
4221:
4211:
4209:
4199:
4195:
4185:
4183:
4181:
4165:
4161:
4151:
4149:
4147:
4131:
4127:
4117:
4115:
4106:
4102:
4092:
4090:
4081:
4077:
4067:
4065:
4056:
4052:
4042:
4040:
4031:
4027:
4017:
4015:
4006:
4002:
3992:
3990:
3981:
3977:
3967:
3965:
3956:
3952:
3942:
3940:
3938:
3922:
3918:
3908:
3906:
3897:
3893:
3883:
3881:
3879:
3863:
3859:
3849:
3847:
3845:
3834:The Renaissance
3829:
3825:
3815:
3813:
3802:
3798:
3788:
3786:
3777:
3773:
3763:
3761:
3752:
3748:
3738:
3736:
3727:
3723:
3713:
3711:
3709:
3693:
3689:
3670:
3666:
3647:
3643:
3626:
3622:
3609:
3605:
3600:
3596:
3591:
3587:
3579:
3575:
3559:
3555:
3542:Master Drawings
3539:
3532:
3523:
3522:
3518:
3506:
3502:
3485:
3478:
3470:Mills, Robert,
3469:
3465:
3456:
3452:
3445:
3429:
3425:
3408:
3404:
3384:
3359:
3347:
3343:
3338:
3334:
3329:
3325:
3316:
3315:
3311:
3291:
3284:
3279:
3270:
3265:
3261:
3244:
3235:
3225:
3223:
3212:
3211:
3207:
3197:
3195:
3187:
3186:
3182:
3176:
3162:
3155:
3151:
3146:
3145:
3136:
3132:
3099:
3095:
3085:
3081:
3056:
3052:
3047:
3042:
3020:
3013:
3003:
2994:
2984:
2975:
2969:
2960:
2952:
2945:
2930:
2921:
2913:
2904:
2890:
2884:
2875:
2869:
2860:
2857:St. Christopher
2854:
2845:
2841:
2832:
2823:
2814:
2800:
2794:
2785:
2775:
2766:
2758:
2749:
2740:
2730:
2721:
2715:
2706:
2696:
2682:
2672:
2663:
2659:
2650:
2641:
2637:
2626:
2617:
2609:
2601:
2592:
2578:
2569:
2557:
2548:
2534:
2526:
2517:
2504:
2495:
2485:
2476:
2470:Alte Pinakothek
2463:
2454:
2442:
2433:
2421:
2407:
2398:
2389:
2377:
2368:
2356:
2347:
2339:
2330:
2318:
2279:Lutheran Church
2215:
2195:Nuremberg Group
2178:
2165:trace italienne
2133:
2124:
2121:
2112:
2105:
2096:
2085:
2056:concave mirrors
2007:
1993:Platonic solids
1981:Gothic alphabet
1936:Johannes Werner
1892:
1881:
1875:
1872:
1829:
1827:
1817:
1805:
1794:
1768:rather than in
1766:German language
1762:
1729:The Last Supper
1689:
1663:His large house
1630:. For those of
1616:Albert of Mainz
1543:
1524:Joachim Patinir
1411:
1394:
1381:
1364:
1287:
1219:
1066:
991:
984:
976:
965:
956:
948:
939:
928:
919:
907:
898:
888:
879:
871:
865:
855:
846:(1502) and the
782:
772:The Sea Monster
707:Alte Pinakothek
687:
672:
656:Andrea Mantegna
620:
519:
412:
407:
383:Italian artists
276:, was a German
264:
245:
241:
209:
206: 1494)
201:
197:
170:
147:
142:
103:
100:
96:
87:
74:
68:
66:
58:
37:
28:
23:
22:
15:
12:
11:
5:
7454:
7444:
7443:
7438:
7433:
7428:
7423:
7418:
7413:
7408:
7403:
7398:
7393:
7388:
7383:
7378:
7373:
7368:
7363:
7358:
7353:
7351:Artist authors
7348:
7346:Animal artists
7343:
7338:
7333:
7328:
7323:
7318:
7313:
7311:Albrecht Dürer
7296:
7295:
7293:
7292:
7279:
7276:
7275:
7273:
7272:
7267:
7262:
7257:
7251:
7249:
7245:
7244:
7242:
7241:
7236:
7231:
7226:
7221:
7216:
7211:
7205:
7203:
7199:
7198:
7196:
7195:
7188:
7181:
7174:
7167:
7159:
7157:
7153:
7152:
7149:
7148:
7146:
7145:
7144:
7143:
7133:
7132:
7131:
7119:
7118:
7117:
7107:
7106:
7105:
7093:
7092:
7091:
7081:
7080:
7079:
7066:
7064:
7060:
7059:
7057:
7056:
7055:
7054:
7052:The Greek Vase
7044:
7043:
7042:
7032:
7031:
7030:
7019:
7017:
7013:
7012:
7010:
7009:
7008:
7007:
6995:
6994:
6993:
6983:
6982:
6981:
6974:Albrecht Dürer
6971:
6970:
6969:
6957:
6956:
6955:
6943:
6942:
6941:
6929:
6928:
6927:
6920:
6908:
6902:
6900:
6896:
6895:
6893:
6892:
6891:
6890:
6878:
6877:
6876:
6865:
6863:
6856:
6852:
6851:
6848:
6847:
6845:
6844:
6839:
6837:Roman Verostko
6834:
6829:
6824:
6819:
6814:
6812:Alba Rojo Cama
6809:
6804:
6799:
6794:
6789:
6784:
6779:
6774:
6769:
6768:
6767:
6758:Charles Jencks
6755:
6750:
6745:
6743:George W. Hart
6740:
6735:
6730:
6725:
6720:
6715:
6710:
6705:
6696:
6690:
6688:
6684:
6683:
6681:
6680:
6675:
6674:
6673:
6666:
6654:
6653:
6652:
6640:
6639:
6638:
6631:
6624:
6617:
6610:
6598:
6593:
6588:
6587:
6586:
6579:
6570:Jean Metzinger
6567:
6566:
6565:
6558:
6545:
6543:
6537:
6536:
6534:
6533:
6532:
6531:
6519:
6517:Albrecht Dürer
6514:
6513:
6512:
6500:
6495:
6489:
6487:
6480:
6474:
6473:
6471:
6470:
6465:
6460:
6455:
6450:
6445:
6440:
6435:
6429:
6427:
6421:
6420:
6418:
6417:
6410:
6403:
6396:
6389:
6382:
6375:
6369:
6367:
6363:
6362:
6360:
6359:
6354:
6349:
6344:
6343:
6342:
6332:
6327:
6326:
6325:
6320:
6315:
6305:
6304:
6303:
6298:
6293:
6288:
6278:
6273:
6268:
6263:
6258:
6257:
6256:
6251:
6246:
6236:
6234:Anamorphic art
6231:
6225:
6223:
6219:
6218:
6211:
6209:
6207:
6206:
6201:
6196:
6191:
6190:
6189:
6184:
6176:
6171:
6166:
6165:
6164:
6162:Camera obscura
6159:
6149:
6144:
6139:
6134:
6129:
6124:
6119:
6113:
6111:
6107:
6106:
6099:
6098:
6091:
6084:
6076:
6067:
6066:
6064:
6063:
6061:Dürer (crater)
6058:
6049:
6047:
6043:
6042:
6040:
6039:
6034:
6029:
6024:
6018:
6016:
6012:
6011:
6009:
6008:
6002:
6000:
5996:
5995:
5993:
5992:
5977:
5969:
5961:
5953:
5938:
5923:
5915:
5906:
5904:
5898:
5897:
5895:
5894:
5886:
5878:
5870:
5866:Triumphal Arch
5862:
5854:
5846:
5838:
5830:
5822:
5814:
5806:
5798:
5790:
5782:
5774:
5766:
5758:
5750:
5742:
5728:
5726:
5720:
5719:
5717:
5716:
5708:
5700:
5692:
5683:
5681:
5680:Self-portraits
5677:
5676:
5674:
5673:
5665:
5646:
5638:
5623:
5608:
5593:
5577:
5575:
5571:
5570:
5563:
5561:
5559:
5558:
5550:
5542:
5534:
5526:
5518:
5510:
5495:
5487:
5479:
5471:
5463:
5455:
5447:
5439:
5431:
5423:
5415:
5399:
5391:
5375:
5358:Haller Madonna
5354:
5346:
5331:
5323:
5315:
5307:
5305:
5301:
5300:
5297:Albrecht Dürer
5293:
5292:
5285:
5278:
5270:
5264:
5263:
5254:
5241:
5228:
5218:
5209:
5200:
5182:
5181:
5180:
5148:
5132:Colvin, Sidney
5126:
5125:External links
5123:
5122:
5121:
5106:
5091:
5066:
5038:
5023:
5008:
5005:0-6-910-0297-5
4991:
4988:
4987:
4986:
4958:
4945:
4935:Albrecht Dürer
4931:
4914:
4902:. Mineola NY:
4896:
4881:
4862:
4853:. Yale, 1996.
4847:
4844:978-0226449999
4829:
4815:
4801:
4787:
4771:
4768:
4766:
4765:
4752:New York Times
4737:
4720:
4708:
4701:
4695:. VST Verlag.
4683:
4670:
4661:
4638:
4629:
4616:
4607:
4598:
4596:Strauss, 1981.
4589:
4580:
4571:
4562:
4550:Corine Schleif
4542:
4526:
4517:
4508:
4495:
4486:
4477:
4463:
4443:
4429:
4409:
4395:
4375:
4361:
4341:
4329:
4304:
4290:
4270:
4244:
4219:
4193:
4179:
4159:
4145:
4125:
4100:
4075:
4050:
4025:
4000:
3986:Albrecht Dürer
3975:
3950:
3936:
3916:
3891:
3877:
3857:
3843:
3823:
3796:
3771:
3746:
3721:
3707:
3687:
3664:
3649:Ridpath, Ian.
3641:
3620:
3603:
3594:
3585:
3573:
3553:
3530:
3516:
3500:
3476:
3463:
3450:
3443:
3423:
3402:
3386:Giulia Bartrum
3357:
3349:Joseph Koerner
3341:
3332:
3323:
3309:
3282:
3268:
3259:
3233:
3205:
3180:
3175:978-1405881180
3174:
3152:
3150:
3147:
3144:
3143:
3130:
3093:
3079:
3067:Erwin Panofsky
3049:
3048:
3046:
3043:
3041:
3038:
3037:
3036:
3031:
3026:
3019:
3016:
3015:
3014:
3004:
2997:
2995:
2985:
2978:
2976:
2970:
2963:
2961:
2931:
2924:
2922:
2905:
2898:
2896:
2895:Woodcut prints
2892:
2891:
2885:
2878:
2876:
2870:
2863:
2861:
2855:
2848:
2846:
2833:
2826:
2824:
2815:
2808:
2806:
2802:
2801:
2795:
2788:
2786:
2776:
2769:
2767:
2750:
2743:
2741:
2731:
2724:
2722:
2718:Reclining Nude
2716:
2709:
2707:
2697:
2690:
2688:
2684:
2683:
2673:
2666:
2664:
2651:
2644:
2642:
2627:
2620:
2618:
2614:British Museum
2602:
2595:
2593:
2579:
2572:
2570:
2549:
2542:
2540:
2536:
2535:
2527:
2520:
2518:
2505:
2498:
2496:
2492:Gemäldegalerie
2486:
2479:
2477:
2464:
2457:
2455:
2443:
2436:
2434:
2422:
2415:
2413:
2409:
2408:
2399:
2392:
2390:
2378:
2371:
2369:
2357:
2350:
2348:
2331:
2324:
2322:
2317:
2314:
2291:Hans Burgkmair
2231:Little Masters
2214:
2211:
2184:Page from the
2177:
2174:
2132:
2127:
2126:
2125:
2122:
2115:
2113:
2106:
2099:
2097:
2087:Title page of
2086:
2079:
2024:is called the
2006:
2001:
1973:Latin alphabet
1902:is called the
1894:
1893:
1808:
1806:
1799:
1793:
1788:
1779:Schneckenlinie
1761:
1758:
1688:
1685:
1589:Salvator Mundi
1550:Salvator Mundi
1542:
1539:
1532:Quentin Matsys
1470:(where he saw
1456:Stefan Lochner
1410:
1407:
1380:
1377:
1362:August Siegert
1218:
1215:
1186:Lusterweibchen
1149:Little Passion
1065:
1062:
1043:Pope Julius II
1029:San Bartolomeo
990:
987:
986:
985:
966:
959:
957:
949:
942:
940:
929:
922:
920:
908:
901:
899:
889:
882:
880:
866:
859:
764:Giorgio Vasari
681:The Men's Bath
671:
668:
666:on this trip.
619:
616:
612:The Men's Bath
518:
512:
494:Anton Koberger
411:
408:
406:
403:
298:woodcut prints
238:Albrecht Dürer
233:
232:
229:
228:
220:
219:
215:
214:
211:
210:
199:
193:
192:
190:
186:
185:
176:
172:
171:
169:
168:
163:
158:
152:
150:
144:
143:
141:
140:
135:
129:
127:
126:Known for
123:
122:
119:
115:
114:
109:
105:
104:
101:
99:(aged 56)
93:
89:
88:
75:
64:
60:
59:
47:
39:
38:
36:Albrecht Dürer
35:
26:
9:
6:
4:
3:
2:
7453:
7442:
7439:
7437:
7434:
7432:
7429:
7427:
7424:
7422:
7419:
7417:
7414:
7412:
7409:
7407:
7404:
7402:
7399:
7397:
7394:
7392:
7389:
7387:
7384:
7382:
7379:
7377:
7374:
7372:
7369:
7367:
7364:
7362:
7359:
7357:
7354:
7352:
7349:
7347:
7344:
7342:
7339:
7337:
7334:
7332:
7329:
7327:
7324:
7322:
7319:
7317:
7314:
7312:
7309:
7308:
7306:
7291:
7290:
7281:
7280:
7277:
7271:
7268:
7266:
7263:
7261:
7258:
7256:
7255:Droste effect
7253:
7252:
7250:
7246:
7240:
7237:
7235:
7234:Mathemalchemy
7232:
7230:
7227:
7225:
7222:
7220:
7217:
7215:
7212:
7210:
7207:
7206:
7204:
7202:Organizations
7200:
7194:
7193:
7189:
7187:
7186:
7182:
7180:
7179:
7175:
7173:
7172:
7171:Lumen Naturae
7168:
7166:
7165:
7161:
7160:
7158:
7154:
7142:
7139:
7138:
7137:
7134:
7130:
7129:
7125:
7124:
7123:
7120:
7116:
7113:
7112:
7111:
7108:
7104:
7103:
7099:
7098:
7097:
7094:
7090:
7087:
7086:
7085:
7082:
7078:
7077:
7073:
7072:
7071:
7068:
7067:
7065:
7061:
7053:
7050:
7049:
7048:
7045:
7041:
7038:
7037:
7036:
7033:
7029:
7026:
7025:
7024:
7023:Samuel Colman
7021:
7020:
7018:
7014:
7006:
7005:
7001:
7000:
6999:
6996:
6992:
6989:
6988:
6987:
6984:
6980:
6977:
6976:
6975:
6972:
6968:
6967:
6963:
6962:
6961:
6958:
6954:
6953:
6949:
6948:
6947:
6944:
6940:
6939:
6935:
6934:
6933:
6930:
6926:
6925:
6921:
6919:
6918:
6914:
6913:
6912:
6909:
6907:
6904:
6903:
6901:
6897:
6889:
6888:
6884:
6883:
6882:
6879:
6875:
6872:
6871:
6870:
6867:
6866:
6864:
6860:
6857:
6853:
6843:
6840:
6838:
6835:
6833:
6832:Daina Taimiņa
6830:
6828:
6825:
6823:
6820:
6818:
6817:Reza Sarhangi
6815:
6813:
6810:
6808:
6805:
6803:
6800:
6798:
6795:
6793:
6790:
6788:
6785:
6783:
6780:
6778:
6775:
6773:
6770:
6766:
6765:
6761:
6760:
6759:
6756:
6754:
6751:
6749:
6746:
6744:
6741:
6739:
6736:
6734:
6731:
6729:
6728:Peter Forakis
6726:
6724:
6721:
6719:
6716:
6714:
6711:
6709:
6706:
6704:
6700:
6697:
6695:
6692:
6691:
6689:
6685:
6679:
6676:
6672:
6671:
6667:
6665:
6664:
6660:
6659:
6658:
6657:Salvador Dalí
6655:
6651:
6650:
6646:
6645:
6644:
6643:René Magritte
6641:
6637:
6636:
6632:
6630:
6629:
6625:
6623:
6622:
6618:
6616:
6615:
6614:Print Gallery
6611:
6609:
6608:
6604:
6603:
6602:
6599:
6597:
6594:
6592:
6589:
6585:
6584:
6583:L'Oiseau bleu
6580:
6578:
6577:
6573:
6572:
6571:
6568:
6564:
6563:
6559:
6557:
6556:
6552:
6551:
6550:
6549:William Blake
6547:
6546:
6544:
6538:
6530:
6529:
6525:
6524:
6523:
6520:
6518:
6515:
6511:
6510:
6509:Vitruvian Man
6506:
6505:
6504:
6501:
6499:
6496:
6494:
6493:Paolo Uccello
6491:
6490:
6488:
6484:
6481:
6479:
6475:
6469:
6466:
6464:
6461:
6459:
6456:
6454:
6451:
6449:
6446:
6444:
6441:
6439:
6436:
6434:
6431:
6430:
6428:
6426:
6422:
6416:
6415:
6414:Pi in the Sky
6411:
6409:
6408:
6404:
6402:
6401:
6397:
6395:
6394:
6390:
6388:
6387:
6386:Mathemalchemy
6383:
6381:
6380:
6376:
6374:
6371:
6370:
6368:
6364:
6358:
6355:
6353:
6350:
6348:
6345:
6341:
6338:
6337:
6336:
6333:
6331:
6328:
6324:
6321:
6319:
6316:
6314:
6311:
6310:
6309:
6306:
6302:
6299:
6297:
6294:
6292:
6289:
6287:
6284:
6283:
6282:
6279:
6277:
6274:
6272:
6269:
6267:
6264:
6262:
6259:
6255:
6254:Vastu shastra
6252:
6250:
6247:
6245:
6244:Geodesic dome
6242:
6241:
6240:
6237:
6235:
6232:
6230:
6227:
6226:
6224:
6220:
6215:
6205:
6202:
6200:
6197:
6195:
6192:
6188:
6185:
6183:
6180:
6179:
6177:
6175:
6172:
6170:
6169:Plastic ratio
6167:
6163:
6160:
6158:
6157:Camera lucida
6155:
6154:
6153:
6150:
6148:
6145:
6143:
6140:
6138:
6135:
6133:
6130:
6128:
6125:
6123:
6120:
6118:
6115:
6114:
6112:
6108:
6104:
6097:
6092:
6090:
6085:
6083:
6078:
6077:
6074:
6062:
6059:
6056:
6055:
6051:
6050:
6048:
6044:
6038:
6035:
6033:
6030:
6028:
6025:
6023:
6020:
6019:
6017:
6013:
6007:
6004:
6003:
6001:
5997:
5983:
5982:
5978:
5975:
5974:
5970:
5967:
5966:
5962:
5959:
5958:
5954:
5944:
5943:
5942:Praying Hands
5939:
5929:
5928:
5924:
5921:
5920:
5916:
5913:
5912:
5908:
5907:
5905:
5899:
5892:
5891:
5887:
5884:
5883:
5879:
5876:
5875:
5871:
5868:
5867:
5863:
5860:
5859:
5855:
5852:
5851:
5847:
5844:
5843:
5839:
5836:
5835:
5834:Small Passion
5831:
5828:
5827:
5823:
5820:
5819:
5818:Great Passion
5815:
5812:
5811:
5807:
5804:
5803:
5799:
5796:
5795:
5791:
5788:
5787:
5783:
5780:
5779:
5775:
5772:
5771:
5767:
5764:
5763:
5759:
5756:
5755:
5751:
5748:
5747:
5743:
5741:
5740:
5735:
5734:
5730:
5729:
5727:
5721:
5714:
5713:
5709:
5706:
5705:
5701:
5698:
5697:
5693:
5690:
5689:
5685:
5684:
5682:
5678:
5671:
5670:
5666:
5663:
5652:
5651:
5647:
5644:
5643:
5639:
5629:
5628:
5624:
5614:
5613:
5609:
5599:
5598:
5594:
5584:
5583:
5579:
5578:
5576:
5572:
5567:
5556:
5555:
5551:
5548:
5547:
5543:
5540:
5539:
5535:
5532:
5531:
5527:
5524:
5523:
5519:
5516:
5515:
5511:
5501:
5500:
5496:
5493:
5492:
5488:
5485:
5484:
5480:
5477:
5476:
5472:
5469:
5468:
5464:
5461:
5460:
5456:
5453:
5452:
5448:
5445:
5444:
5440:
5437:
5436:
5432:
5430:(before 1505)
5429:
5428:
5424:
5421:
5420:
5416:
5406:
5404:
5400:
5397:
5396:
5392:
5383:(attributed,
5382:
5380:
5376:
5366:
5365:
5360:
5359:
5355:
5352:
5351:
5347:
5337:
5336:
5332:
5329:
5328:
5324:
5321:
5320:
5316:
5314:
5313:
5309:
5308:
5306:
5302:
5298:
5291:
5286:
5284:
5279:
5277:
5272:
5271:
5268:
5261:
5259:
5255:
5253:
5249:
5245:
5242:
5240:
5236:
5232:
5229:
5226:
5222:
5219:
5217:
5213:
5210:
5208:
5204:
5201:
5198:
5194:
5190:
5188:
5183:
5179:
5175:
5171:
5168:
5167:
5165:
5161:
5157:
5154:
5153:
5149:
5145:
5144:
5138:
5133:
5129:
5128:
5119:
5118:0-486-21097-9
5115:
5111:
5107:
5104:
5100:
5096:
5092:
5088:
5084:
5080:
5076:
5072:
5067:
5056:
5052:
5049:(in German).
5048:
5044:
5039:
5036:
5035:0-486-21306-4
5032:
5028:
5024:
5021:
5017:
5013:
5009:
5006:
5002:
4998:
4994:
4993:
4983:
4977:
4969:
4965:
4961:
4955:
4951:
4946:
4944:
4940:
4936:
4932:
4930:
4926:
4922:
4918:
4915:
4913:
4912:0-486-22851-7
4909:
4905:
4901:
4897:
4894:
4890:
4886:
4882:
4880:
4879:0-691-00303-3
4876:
4872:
4871:
4866:
4863:
4860:
4859:0-300-06883-2
4856:
4852:
4848:
4845:
4841:
4837:
4833:
4830:
4827:
4823:
4819:
4816:
4813:
4809:
4805:
4804:Brion, Marcel
4802:
4799:
4795:
4791:
4788:
4786:
4785:0-7141-2633-0
4782:
4778:
4774:
4773:
4754:
4753:
4748:
4741:
4730:
4724:
4717:
4712:
4704:
4698:
4694:
4687:
4680:
4674:
4665:
4649:
4642:
4633:
4626:
4620:
4611:
4602:
4593:
4584:
4575:
4566:
4559:
4555:
4551:
4546:
4537:
4535:
4533:
4531:
4521:
4512:
4505:
4499:
4490:
4481:
4466:
4460:
4456:
4455:
4447:
4432:
4426:
4422:
4421:
4413:
4398:
4392:
4388:
4387:
4379:
4364:
4358:
4354:
4353:
4345:
4339:, p. 74.
4338:
4333:
4317:
4316:
4308:
4293:
4287:
4283:
4282:
4274:
4258:
4254:
4248:
4233:
4229:
4223:
4208:
4204:
4197:
4182:
4176:
4172:
4171:
4163:
4148:
4142:
4138:
4137:
4129:
4113:
4112:
4104:
4088:
4087:
4079:
4063:
4062:
4054:
4038:
4037:
4029:
4013:
4012:
4004:
3988:
3987:
3979:
3963:
3962:
3954:
3939:
3933:
3929:
3928:
3920:
3904:
3903:
3895:
3880:
3874:
3870:
3869:
3861:
3846:
3840:
3836:
3835:
3827:
3811:
3810:Kulturfüchsin
3807:
3800:
3784:
3783:
3775:
3759:
3758:
3750:
3734:
3733:
3725:
3710:
3704:
3700:
3699:
3691:
3683:
3679:
3675:
3668:
3660:
3656:
3652:
3645:
3638:
3637:90-04-18454-6
3634:
3630:
3624:
3617:
3613:
3607:
3598:
3589:
3582:
3577:
3571:
3567:
3563:
3557:
3551:
3547:
3543:
3537:
3535:
3526:
3520:
3513:
3511:
3504:
3497:
3496:0-271-01977-8
3493:
3489:
3483:
3481:
3473:
3467:
3460:
3454:
3446:
3440:
3436:
3435:
3427:
3419:
3415:
3414:
3406:
3399:
3398:0-7141-2633-0
3395:
3391:
3387:
3382:
3380:
3378:
3376:
3374:
3372:
3370:
3368:
3366:
3364:
3362:
3354:
3350:
3345:
3336:
3327:
3320:. 4 May 2020.
3319:
3313:
3305:
3301:
3300:
3295:
3289:
3287:
3277:
3275:
3273:
3263:
3256:
3255:3-11-012815-2
3252:
3248:
3242:
3240:
3238:
3221:
3220:
3215:
3209:
3194:
3193:Langenscheidt
3190:
3184:
3177:
3171:
3167:
3160:
3158:
3153:
3140:
3134:
3127:
3121:
3117:
3113:
3109:
3105:
3097:
3090:
3083:
3076:
3072:
3068:
3064:
3060:
3054:
3050:
3035:
3032:
3030:
3027:
3025:
3022:
3021:
3018:List of works
3011:
3007:
3001:
2996:
2992:
2991:Small Passion
2988:
2982:
2977:
2973:
2967:
2962:
2958:
2940:
2939:
2938:Great Passion
2934:
2928:
2923:
2919:
2908:
2902:
2897:
2894:
2893:
2888:
2882:
2877:
2873:
2867:
2862:
2858:
2852:
2847:
2836:
2830:
2825:
2822:
2818:
2812:
2807:
2804:
2803:
2798:
2792:
2787:
2784:(KdZ 22)
2783:
2779:
2773:
2768:
2764:
2753:
2747:
2742:
2738:
2734:
2728:
2723:
2719:
2713:
2708:
2704:
2700:
2694:
2689:
2686:
2685:
2680:
2676:
2670:
2665:
2654:
2648:
2643:
2633:
2631:
2624:
2619:
2615:
2605:
2599:
2594:
2590:
2586:
2582:
2576:
2571:
2567:
2563:
2552:
2546:
2541:
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2035:
2031:
2027:
2023:
2016:
2011:
2005:
2000:
1998:
1994:
1990:
1986:
1982:
1978:
1975:, relying on
1974:
1970:
1966:
1962:
1958:
1954:
1950:
1945:
1942:
1937:
1933:
1929:
1925:
1921:
1917:
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1890:
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1865:
1861:
1858:
1854:
1851:
1847:
1844:
1840:
1837: –
1836:
1832:
1831:Find sources:
1825:
1821:
1815:
1814:
1809:This section
1807:
1803:
1798:
1797:
1792:
1787:
1785:
1780:
1775:
1771:
1767:
1757:
1755:
1751:
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1743:
1739:
1735:
1731:
1730:
1725:
1720:
1718:
1717:Peasants' War
1714:
1713:
1708:
1704:
1700:
1695:
1682:
1678:
1674:
1670:
1668:
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1600:
1596:
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1590:
1585:
1583:
1578:
1573:
1571:
1570:fortification
1566:
1565:
1555:
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1538:
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1453:
1449:
1445:
1441:
1437:
1433:
1432:Martin Luther
1425:
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1415:
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1398:
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1386:
1376:
1374:
1368:
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1333:
1332:Conrad Celtes
1329:
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1309:
1303:
1301:
1297:
1291:
1286:
1282:
1281:
1276:
1272:
1268:
1264:
1263:Hieroglyphica
1260:
1256:
1255:
1250:
1242:
1238:
1231:
1227:
1223:
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1208:
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1139:
1135:
1131:
1130:Great Passion
1127:
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1000:
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982:
971:
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969:Praying Hands
963:
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877:
863:
858:
857:
856:
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851:
850:
845:
844:
839:
835:
834:Praying Hands
831:
830:
829:Betende Hände
824:
822:
821:
815:
811:
807:
803:
798:
796:
792:
788:
777:
776:Saint Eustace
773:
769:
765:
761:
757:
752:
750:
749:Great Passion
746:
745:
740:
736:
735:
730:
726:
725:Great Passion
722:
721:
716:
708:
704:
699:
695:
691:
682:
677:
667:
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584:
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560:
556:
552:
551:
542:
538:
534:
530:
529:
528:Self-Portrait
523:
516:
511:
509:
505:
504:
499:
495:
490:
488:
484:
481:, especially
480:
476:
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468:
462:
460:
456:
452:
448:
444:
440:
436:
427:
423:
420:
419:Self-portrait
416:
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388:
384:
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376:
371:
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365:
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359:
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353:
352:
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346:
345:Meisterstiche
341:
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329:
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106:
94:
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86:
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78:
65:
61:
57:
53:
52:
45:
40:
33:
30:
19:
7287:
7190:
7183:
7176:
7169:
7162:
7156:Publications
7140:
7126:
7114:
7100:
7088:
7074:
7051:
7047:Jay Hambidge
7040:Ad Quadratum
7039:
7027:
7002:
6990:
6978:
6973:
6964:
6950:
6946:Luca Pacioli
6936:
6922:
6915:
6885:
6873:
6797:Hinke Osinga
6792:István Orosz
6762:
6753:Anthony Hill
6708:Scott Draves
6703:Erik Demaine
6687:Contemporary
6668:
6661:
6647:
6633:
6626:
6619:
6612:
6605:
6601:M. C. Escher
6581:
6574:
6560:
6553:
6526:
6522:Parmigianino
6516:
6507:
6438:Hagia Sophia
6412:
6405:
6398:
6391:
6384:
6377:
6261:Computer art
6239:Architecture
6199:Tessellation
6182:Architecture
6132:Golden ratio
6052:
5979:
5971:
5963:
5955:
5940:
5925:
5917:
5909:
5903:watercolours
5888:
5880:
5872:
5864:
5856:
5850:Melencolia I
5848:
5840:
5832:
5824:
5816:
5808:
5800:
5792:
5784:
5776:
5768:
5760:
5752:
5744:
5737:
5731:
5723:Woodcuts and
5710:
5702:
5694:
5686:
5667:
5648:
5640:
5625:
5610:
5595:
5580:
5552:
5544:
5536:
5528:
5520:
5512:
5497:
5489:
5481:
5473:
5465:
5459:Adam and Eve
5457:
5449:
5441:
5433:
5425:
5417:
5402:
5393:
5378:
5362:
5356:
5348:
5333:
5325:
5317:
5310:
5296:
5257:
5237:. New York:
5234:
5186:
5177:
5151:
5141:
5109:
5094:
5078:
5074:
5058:. Retrieved
5046:
5026:
5011:
4996:
4949:
4934:
4920:
4899:
4884:
4868:
4850:
4835:
4825:
4824:Engraving".
4821:
4807:
4797:
4776:
4756:. Retrieved
4750:
4740:
4723:
4715:
4711:
4692:
4686:
4673:
4664:
4652:. Retrieved
4641:
4632:
4624:
4619:
4610:
4601:
4592:
4583:
4574:
4565:
4553:
4545:
4520:
4511:
4503:
4498:
4489:
4480:
4468:. Retrieved
4453:
4446:
4434:. Retrieved
4419:
4412:
4400:. Retrieved
4385:
4378:
4366:. Retrieved
4351:
4344:
4332:
4320:. Retrieved
4314:
4307:
4295:. Retrieved
4280:
4273:
4261:. Retrieved
4256:
4247:
4235:. Retrieved
4231:
4222:
4210:. Retrieved
4206:
4196:
4184:. Retrieved
4169:
4162:
4150:. Retrieved
4135:
4128:
4116:. Retrieved
4110:
4103:
4091:. Retrieved
4085:
4078:
4066:. Retrieved
4060:
4053:
4041:. Retrieved
4035:
4028:
4016:. Retrieved
4010:
4003:
3991:. Retrieved
3985:
3978:
3966:. Retrieved
3960:
3953:
3941:. Retrieved
3926:
3919:
3907:. Retrieved
3901:
3894:
3882:. Retrieved
3867:
3860:
3848:. Retrieved
3833:
3826:
3814:. Retrieved
3809:
3799:
3787:. Retrieved
3781:
3774:
3762:. Retrieved
3756:
3749:
3737:. Retrieved
3731:
3724:
3712:. Retrieved
3697:
3690:
3682:the original
3678:Art in Print
3677:
3667:
3654:
3644:
3628:
3623:
3606:
3597:
3588:
3576:
3561:
3556:
3541:
3519:
3512:Vol. 2 No. 4
3510:Art in Print
3509:
3503:
3487:
3471:
3466:
3458:
3453:
3433:
3426:
3412:
3405:
3389:
3352:
3344:
3335:
3326:
3312:
3298:
3262:
3246:
3224:. Retrieved
3217:
3208:
3196:. Retrieved
3183:
3165:
3133:
3115:
3104:Salmi, Mario
3096:
3088:
3082:
3074:
3062:
3053:
3006:Coat of arms
2990:
2986:
2971:
2936:
2932:
2906:
2886:
2871:
2856:
2834:
2816:
2796:
2777:
2751:
2732:
2717:
2698:
2674:
2652:
2628:
2603:
2580:
2550:
2539:Watercolours
2528:
2507:Portrait of
2506:
2487:
2465:
2444:
2424:
2400:
2379:
2358:
2332:
2301:
2297:
2295:
2283:Michelangelo
2276:
2267:
2264:
2228:
2224:Parmigianino
2216:
2202:
2198:
2194:
2191:
2185:
2170:Bastion fort
2161:
2156:
2152:
2140:
2136:
2134:
2129:
2091:showing the
2088:
2064:
2029:
2025:
2019:
2014:
2003:
1946:
1911:
1907:
1903:
1897:
1882:
1873:
1863:
1856:
1849:
1842:
1830:
1818:Please help
1813:verification
1810:
1790:
1763:
1727:
1721:
1710:
1690:
1660:
1655:
1639:
1636:
1632:the Cardinal
1609:
1602:
1588:
1581:
1574:
1559:
1549:
1536:
1512:Jan Provoost
1500:
1489:
1486:Jan van Eyck
1475:
1472:Michelangelo
1450:and then to
1429:
1417:
1389:
1382:
1359:
1349:
1340:
1336:
1320:
1316:Hans Baldung
1304:
1278:
1274:
1262:
1252:
1249:Maximilian I
1246:
1240:
1225:
1196:
1194:
1179:
1173:
1167:
1157:
1148:
1146:
1137:
1133:
1129:
1123:
1119:
1115:
1109:
1105:Adam and Eve
1103:
1101:
1093:
1085:
1074:Melencolia I
1072:
1041:). It shows
1038:
1032:
1022:
1008:
997:
967:
950:
930:
911:Adam and Eve
909:
897:, Amsterdam)
890:
854:
847:
841:
833:
827:
825:
820:Adam and Eve
818:
799:
790:
786:
775:
774:(1498), and
771:
767:
760:Prodigal Son
759:
753:
748:
742:
732:
724:
718:
714:
712:
692:
680:
673:
633:
628:
621:
611:
599:
548:
546:
526:
514:
501:
491:
463:
459:coat-of-arms
431:
372:
363:Melencolia I
361:
360:(1514), and
355:
349:
343:
332:watercolours
325:
321:Maximilian I
273:
237:
236:
148:Notable work
97:(1528-04-06)
95:6 April 1528
56:Prado Museum
49:
29:
7321:1528 deaths
7316:1471 births
7096:G. H. Hardy
6899:Renaissance
6869:Polykleitos
6807:Tony Robbin
6718:John Ernest
6713:Jan Dibbets
6663:Crucifixion
6486:Renaissance
6340:Mathematics
6313:Celtic knot
6276:Fractal art
6178:Proportion
6152:Perspective
5989: 1503
5950: 1508
5935: 1503
5829:(1510–1511)
5821:(1497–1510)
5789:(1498–1500)
5658: 1508
5635: 1503
5620: 1500
5605: 1500
5590: 1496
5574:Altarpieces
5507: 1520
5412: 1500
5388: 1498
5381:(Nuremberg)
5372: 1498
5343: 1496
5081:(1): 1–10.
4259:(in German)
4207:Artnet News
4011:Dürer Today
3812:(in German)
3222:(in German)
2946: 1497
2935:, from the
2914: 1498
2842: 1501
2759: 1509
2660: 1506
2638: 1500
2610: 1497
2558: 1495
2340: 1496
2272:nationalism
2060:physiognomy
1997:Archimedean
1928:epicycloids
1742:Eucharistic
1734:evangelical
1644:mathematics
1395: [
1365: [
1308:lithography
1288: [
1247:From 1512,
1142:chiaroscuro
977: 1508
918:, New York)
895:Rijksmuseum
872: 1496
806:perspective
791:Willow Mill
783: 1501
729:Holy Family
688: 1496
571:Netherlands
553:—in effect
550:Wanderjahre
515:Wanderjahre
471:silverpoint
422:silverpoint
377:and of the
138:printmaking
108:Nationality
73:21 May 1471
7305:Categories
7070:Owen Jones
6917:De pictura
6822:Oliver Sin
6772:Andy Lomas
6621:Relativity
6352:String art
6266:Fiber arts
6147:Paraboloid
5911:Young Hare
5874:Rhinoceros
5802:Visitation
5762:Apocalypse
5739:engravings
5725:engravings
4968:1288194477
4822:St. Philip
4810:. London:
4758:5 November
4470:7 November
4436:7 November
4402:7 November
4368:7 November
4337:Crane 2010
4322:7 November
4297:7 November
4186:4 December
4152:4 December
4118:4 December
4093:4 December
4068:4 December
4043:4 December
4018:3 December
3993:4 December
3968:4 December
3943:4 December
3909:4 December
3884:4 December
3850:4 December
3816:3 December
3789:3 December
3764:3 December
3739:3 December
3714:3 December
3655:Star Tales
3226:22 October
3198:22 October
3040:References
2920:, New York
2887:The Cannon
2453:, Florence
1961:typography
1932:Apollonius
1846:newspapers
1774:vernacular
1754:iconoclast
1750:St. Philip
1724:Protestant
1556:, New York
1403:uranometry
1154:engravings
1138:Apocalypse
1087:Rhinoceros
932:Young Hare
843:Young Hare
838:bodycolour
814:proportion
715:Apocalypse
602:Agnes Frey
579:Strasbourg
455:Hans Dürer
328:engravings
292:. Born in
282:printmaker
195:Agnes Frey
161:engravings
69:1471-05-21
6881:Vitruvius
6855:Theorists
6635:Waterfall
6540:19th–20th
6468:Taj Mahal
6448:Parthenon
6425:Buildings
6379:Continuum
6347:Sculpture
6323:Interlace
6117:Algorithm
5901:Drawings,
5304:Paintings
4976:cite book
4232:museen.de
3149:Citations
3059:St Jerome
2989:from the
2412:Portraits
2308:from the
2145:Nuremberg
2038:Albertian
2034:Vitruvius
1989:polyhedra
1965:Vitruvius
1944:of 1522.
1924:conchoids
1916:and Ruler
1746:utraquism
1681:Nuremberg
1520:Jean Mone
1436:Charles V
1259:Horapollo
1058:Rudolf II
709:, Munich.
676:Nuremberg
567:Frankfurt
555:gap years
435:goldsmith
428:, Vienna.
426:Albertina
405:Biography
294:Nuremberg
218:Signature
156:Paintings
77:Nuremberg
7289:Category
7016:Romantic
6694:Max Bill
6628:Reptiles
6443:Pantheon
6400:Octacube
6366:Artworks
6308:Knotting
6296:Muqarnas
6194:Symmetry
6122:Catenary
6110:Concepts
5660:) (with
5405:(Munich)
5156:Archived
5134:(1911).
4906:, 1973.
4654:6 August
3659:Archived
3306:, 31–32.
3296:(1881).
2687:Drawings
2616:, London
2093:monogram
2072:inspired
2068:Leonardo
1949:polygons
1900:geometry
1876:May 2017
1460:Nijmegen
1275:The Arch
1132:and the
1108:(1507),
1037:(or the
1021:and the
852:(1503).
795:Madonnas
770:(1502),
705:(1500).
701:Dürer's
636:drypoint
569:and the
354:(1513),
286:theorist
175:Movement
166:woodcuts
133:Painting
48:Dürer's
7248:Related
6862:Ancient
6596:Man Ray
6542:Century
6478:Artists
6335:Origami
6249:Pyramid
6127:Fractal
6046:Related
5999:Museums
5451:Avarice
5250:of the
5246:in the
5223:of the
5205:at the
5174:YouTube
5162:at the
4770:Sources
4263:17 July
4237:17 July
4212:17 July
3550:1554333
2765:(KK106)
2739:, Paris
2591:, Paris
2562:gouache
2316:Gallery
2176:Fencing
1985:modular
1969:columns
1953:Ptolemy
1920:helices
1914:Compass
1860:scholar
1699:Zwingli
1648:Galileo
1496:Zeeland
1494:), and
1452:Antwerp
1448:Cologne
1211:etching
1164:Erasmus
1152:famous
1097:Raphael
1051:Flemish
1011:tempera
810:anatomy
768:Nemesis
629:Nemesis
508:woodcut
447:Hungary
441:, near
318:Emperor
302:Raphael
288:of the
278:painter
265:German:
208:
200:
7063:Modern
6699:Martin
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