"Bamberg, with the D-K type which Pfister later made use of, and which had originated with Gutenberg. Albrecht Pfister Albrecht Pfister (c. 1420 – c. 1466) was one of the very first European printers to use movable type, following its invention by Johannes Gutenberg. Working in Bamberg, Germany, he is believed to have been responsible for two innovations in the use of the new technology: printing books in the German language, and adding woodcuts to printed books. The typefaces of Pfister, although similar to Gutenberg's, have their own peculiarities. Very little is known of his life. He is known to"
"the Hebrew faith. The book, titled ""De Arte Predicandi"" (1503), is possibly one of his best-known works from this period. Albrecht Dürer was at the time, and remains, the most famous artist of the German Renaissance. He was famous across Europe, and greatly admired in Italy, where his work was mainly known through his prints. He successfully integrated an elaborate Northern style with Renaissance harmony and monumentality. Among his best known works are ""Melencolia I"", the ""Four Horsemen"" from his woodcut ""Apocalypse"" series, and ""Death, the Knight, and the Devil"". Other significant artists were Lucas Cranach the Elder, the Danube"
"prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the ""Apocalypse"" series (1498), are more Gothic than the rest of his work. His well-known engravings include the ""Knight, Death, and the Devil"" (1513), ""Saint Jerome in his Study"" (1514) and ""Melencolia I"" (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation"
"dynamic compositions. Like Dürer, he had a ""flirtation"" with etching, but on copper rather than iron. His Dutch successors for some time continued to be heavily under the spell of Italy, which they took most of the century to digest. Albrecht Altdorfer produced some Italianate religious prints, but he is most famous for his very Northern landscapes of drooping larches and firs, which are highly innovative in painting as well as prints. He was among the most effective early users of the technique of etching, recently invented as a printmaking technique by Daniel Hopfer, an armourer from Augsburg. Neither Hopfer"
"cities or languages. The greatest artist of the German Renaissance, Albrecht Dürer, began his career as an apprentice to a leading workshop in Nuremberg, that of Michael Wolgemut, who had largely abandoned his painting to exploit the new medium. Dürer worked on the most extravagantly illustrated book of the period, the Nuremberg Chronicle, published by his godfather Anton Koberger, Europe's largest printer-publisher at the time. After completing his apprenticeship in 1490, Dürer travelled in Germany for four years, and Italy for a few months, before establishing his own workshop in Nuremberg. He rapidly became famous all over Europe for his"
"Albrecht Dürer Albrecht Dürer (; ; 21 May 1471 – 6 April 1528) was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by Emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal Churches. Dürer's vast body of work includes engravings, his preferred technique in his later"
"the utmost diligence for a whole year"". For lists of Albrecht Dürer's works, see: Albrecht Dürer Albrecht Dürer (; ; 21 May 1471 – 6 April 1528) was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by Emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal"
"Adoration of the Trinity Adoration of the Trinity (also known as Landauer Altarpiece; German: ""Allerheiligenbild"" or ""Landauer Altar"") is an oil-on-panel painting by German Renaissance artist Albrecht Dürer, executed in 1511 and currently housed in the Kunsthistorisches Museum, Vienna, Austria. The work was commissioned by the rich merchant Matthäus Landauer of Nuremberg for a chapel dedicated to the Holy Trinity and All the Saints in the ""Zwölfbrüderhaus"" (""House of Twelve Brothers""), which he had founded with Erasmus Schiltkrot in 1501. The house was a charity institution which could house up to twelve artisans who were unable to sustain themselves with"
"of the page Dürer has placed his distinctive “AD” monogram that is in all of his engravings. Albrecht Dürer considered printmaking to be one of the most important art forms, possibly even equal to the art of painting. His technical skill is well demonstrated in ""St. Michael Fighting the Dragon"". The influence of Dürer's training under Michael Wolgemut on the quality of Dürer's works can be seen in the vast amount of detail in the print. Dürer includes details ranging from the small trees surrounding the town to details of St. Michael’s face. Dürer uses atmospheric perspective to create the"
"with Russell stating, in ""The World of Dürer"", that Dürer ""elevated them into high works of art."" In the 1500s, Renaissance art in Germany became more common as, according to Gardner, ""The art of northern Europe during the sixteenth century is characterized by a sudden awareness of the advances made by the Italian Renaissance and by a desire to assimilate this new style as rapidly as possible."" One of the best known practitioners of German Renaissance art was Albrecht Dürer (1471–1528). Dürer's fascination with classical ideas led him to Italy to study art. Both Gardner and Russell recognized the importance"
"Dürer and from Marcantonio Raimondi, and concentrating on secular, often mythological and erotic, rather than on religious themes. The most talented were the brothers Bartel Beham and the longer-lived Sebald Beham. Like Georg Pencz, they came from Nuremberg and were expelled by the council for atheism for a period. The other principal member of the group was Heinrich Aldegrever, a convinced Lutheran with Anabaptist leanings, who was perhaps therefore forced to spend much of his time producing ornament prints. Another convinced Protestant, Hans Holbein the Younger, spent most of his adult career in England, then and for long after too"
"the Danube school, was another important influence for Altdorfer. According to Roskill, works by Cranach from about 1500 ""give a prominent role to landscape settings, using them as mood-enhancing backgrounds for portraits, and for images of hermits and visionary saints"", and seem to play a ""preparatory role"" for the onset of pure landscape. Altdorfer owed much of his style, particularly in his religious artwork, to Albrecht Dürer (1471–1528); Larry Silver writes that Altdorfer's ""use of convincing German landscapes in combination with celestial phenomena for his religious narrative"" is ""firmly tied"" to a tradition ""modeled by Albrecht Dürer."" William IV, Duke"
"art. He was a painter, etcher, architect, and engraver, and the leader of the Danube school of German art. As evidenced by such paintings as ""Saint George and the Dragon"" (1510) and """" (1531), much of Altdorfer's work is characterised by an attachment to sprawling landscapes that dwarf the figures within them; ""The Battle of Alexander at Issus"" epitomises this facet of his style. With reference to ""St George and the Dragon"" in particular, art historian Mark W. Roskill comments that ""The accessory material of landscape [in Altdorfer's work] is played with and ornamentally elaborated so that it reverberates with"
"German invention) was already more developed in Germany and the Low Countries than anywhere else, and the Germans took the lead in developing book illustrations, typically of a relatively low artistic standard, but seen all over Europe, with the woodblocks often being lent to printers of editions in other cities or languages. The greatest artist of the German Renaissance, Albrecht Dürer, began his career as an apprentice to a leading workshop in Nuremberg, that of Michael Wolgemut, who had largely abandoned his painting to exploit the new medium. Dürer worked on the most extravagantly illustrated book of the period, the"
"browns. India, Ethiopia and other countries have long watercolor painting traditions as well. American artists in the early 19th century seemed to regard watercolor primarily as a sketching tool in preparation for the ""finished"" work in oil or engraving. Watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illustration since at least Egyptian times but especially in the European Middle Ages. However, its ""continuous"" history as an art medium begins with the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528), who painted several fine botanical, wildlife, and landscape"
"contract for which still exists. He died at Nuremberg in 1519. Michael Wolgemut Michael Wolgemut (formerly spelt ""Wohlgemuth""; 1434 – 30 November 1519) was a German painter and printmaker, who ran a workshop in Nuremberg. He is best known as having taught the young Albrecht Dürer. The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship"
"as dubious circumstances. The Welsh sculptor Barry Flanagan (1944-2009) was best known for his energetic bronzes of hares, which he produced throughout his career. Many have a comic element, and the length and thinness of the hare's body is often exaggerated. Probably one of the most famous depictions of an animal in the history of European art is the painting ""Young Hare"" by Albrecht Dürer, completed in 1502 and now preserved in the Albertina in Vienna. Dürer's watercolor is seen in the context of his other nature studies, such as his almost equally famous ""Meadow"" or his ""Bird Wings"". He"
"and the image is thought probably to depict Dürer's own hands. Praying Hands (Dürer) Praying hands (), also known as Study of the Hands of an Apostle (""Studie zu den Händen eines Apostels""), is a pen-and-ink drawing by the German printmaker, painter and theorist Albrecht Dürer. The work is today stored at the Albertina museum in Vienna, Austria. Dürer created the drawing using the technique of white heightening and black ink on (self-made) blue colored paper. The drawing shows a close up of two male hands clasped together praying. Also, the partly rolled up sleeves are seen. The drawing is"
"spreading incense from thuribles. The side panels also contain numerous puttoes in the background. Their style difference could indicate the intervention of assistants. <br> Dresden Altarpiece The Dresden Altarpiece is a triptych by German Renaissance artists Albrecht Dürer, executed between 1496 and 1497, and perhaps continued in 1503-1504. It is housed in the Gemäldegalerie Alte Meister of Dresden, Germany. The painting was one of the first commissions received from Frederick III, Elector of Saxony, together with the ""Seven Sorrows Polyptych"" and the ""Portrait of Frederick III of Saxony"". Dürer knew the elector during the latter's short stay in Nuremberg in"
"remained in the imperial collection in Vienna until 1792, when Luigi Lanzi, the director of the Uffizi, acquired it in exchange for Fra Bartolomeo's """". Some art historians suggest that this painting could have been the central panel of the Jabach Altarpiece. <BR> Adoration of the Magi (Dürer) The Adoration of the Magi is a 1504 oil-on-wood painting by Albrecht Dürer. It was commissioned by Frederick the Wise for the altar of the Schlosskirche in Wittenberg, and is considered one of Dürer's best and most important works from the period between his first and second trips to Italy (1494-5 and"
"engraving, and a pupil of Lucas Cranach the Elder. Albrecht Altdorfer Albrecht Altdorfer (c. 1480 – February 12, 1538) was a German painter, engraver and architect of the Renaissance working in Regensburg, Bavaria. Along with Lucas Cranach the Elder and Wolf Huber he is regarded to be the main representative of the so-called Danube School setting biblical and historical subjects against landscape backgrounds of expressive colours. As an artist also making small intricate engravings he is seen to belong to the Nuremberg Little Masters. Altdorfer was born in Regensburg or Altdorf around 1480. He acquired an interest in art from"
"(and various other mathematical objects) in Albrecht Dürer's engraving Melencolia I; and in Salvador Dalí's painting ""The Last Supper"" in which Christ and his disciples are pictured inside a giant dodecahedron. Albrecht Dürer (1471–1528) was a German Renaissance printmaker who made important contributions to polyhedral literature in his 1525 book, ""Underweysung der Messung (Education on Measurement)"", meant to teach the subjects of linear perspective, geometry in architecture, Platonic solids, and regular polygons. Dürer was likely influenced by the works of Luca Pacioli and Piero della Francesca during his trips to Italy. While the examples of perspective in ""Underweysung der Messung"""
"had to learn in Italy or Flanders. Hans von Aachen and the Netherlandish Bartholomeus Spranger were the leading painters at the Imperial courts in Vienna and Prague, and the productive Netherlandish Sadeler family of engravers spread out across Germany, among other counties. In Catholic parts of South Germany the Gothic tradition of wood carving continued to flourish until the end of the 18th century, adapting to changes in style through the centuries. Veit Stoss (d. 1533), Tilman Riemenschneider (d.1531) and Peter Vischer the Elder (d. 1529) were Dürer's contemporaries, and their long careers covered the transition between the Gothic and"
"from the 15th to the 16th century, Albrecht Dürer from Nuremberg established his reputation across Europe as painter, printmaker, mathematician, engraver, and theorist when he was still in his twenties and secured his reputation as one of the most important figures of the Northern Renaissance. The addition ""Nationis Germanicæ"" (of German Nation) to the emperor's title appeared first in the 15th century: in a 1486 law decreed by Frederick III and in 1512 in reference to the Imperial Diet in Cologne by Maximilian I. By then, the emperors had lost their influence in Italy and Burgundy. In 1525, the Heilbronn"
"right, above a dark green background. Elements such as the parapet on which his arms lie, or the hands holding a roll, were typical of Flemish art of the period. Frederick's impervious personality, as well as his status, are emphasized by the large beret and by his determined glance Portrait of Frederick III of Saxony The Portrait of Frederick III of Saxony is a tempera on canvas painting by German Renaissance artist Albrecht Dürer, executed in 1496. It is housed in the Gemäldegalerie of Berlin, Germany. The painting was one of the first commissions received from Frederick III, Elector of"
"Albrecht Dürer's early prints were appropriated by a number of Italian artists. Patinir, ""emboldened by the Italian taste for Northern rusticity, began as early as the 1510s to expand the backgrounds of his paintings out of all proportion"" in a way that ""violently reversed the ordinary hierarchy of subject and setting"". By 1520 he was well known for these subjects, and when Dürer visited him in Antwerp he described him in his diary as ""the good painter of landscapes"" (""gut landschaftsmaler"") in the first use of ""Landschaft"" in an artistic context. The paintings are relatively small and use a horizontal"
"meteorite of Ensisheim – 1492 to 1992',(1992)), in relation to ""Melencolia I"". This object fell in Alsace on 7 November 1492. The third is the comet of 1493, mentioned in the chronological section of Sir David Brewster's ""The Edinburgh Encyclopædia"", which said it was: ""seen before and after passing its meridian."" <br> St. Jerome in the Wilderness (Dürer) St. Jerome in the Wilderness is a double-sided oil on panel painting by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed. The work was attributed to Dürer in 1957,"
"(1459–1508). Celtis studied at Cologne and Heidelberg, and later travelled throughout Italy collecting Latin and Greek manuscripts. Heavily influenced by Tacitus, he used the ""Germania"" to introduce German history and geography. Eventually he devoted his time to poetry, in which he praised Germany in Latin. Another important figure was Johann Reuchlin (1455–1522) who studied in various places in Italy and later taught Greek. He studied the Hebrew language, aiming to purify Christianity, but encountered resistance from the church. The most significant German Renaissance artist is Albrecht Dürer especially known for his printmaking in woodcut and engraving, which spread all over"
"(twice) and Berlin. He received the Palme d'Or des Beaux Arts in Monte-Carlo in 1972 and exhibited in Rome. Since then, many further exhibitions and honours have followed. He had his first exhibition and retrospective in his hometown of Mulhouse in the Musée des Beaux Arts in the Villa Steinbach in autumn of 2008. Brenner's media is very diverse, including techniques such as engraving, lithography, collage and photography. His paintings range from still-lifes with flowers and full landscapes to abstract portraits in black and white. Some of his works reference Cézanne and Monet. He spoke fluent French, German, English and"
"energetic and balanced woodcuts and engravings, while also painting. Though retaining a distinctively German style, his work shows strong Italian influence, and is often taken to represent the start of the German Renaissance in visual art, which for the next forty years replaced the Netherlands and France as the area producing the greatest innovation in Northern European art. Dürer supported Martin Luther but continued to create Madonnas and other Catholic imagery, and paint portraits of leaders on both sides of the emerging split of the Protestant Reformation. Dürer died in 1528, before it was clear that the split of the"
"the famous engraving of ""Adam and Eve"" (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. Dürer created large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the ""Betende Hände"" (""Praying Hands"") from circa 1508, a study for an apostle in the Heller altarpiece. He continued to make images in watercolour and bodycolour (usually combined), including a number of still lifes of meadow sections or animals, including his ""Young Hare"" (1502) and the ""Great Piece of"
"Stefan Lochner Stefan Lochner (the Dombild Master or Master Stefan; c. 1410 – late 1451) was a German painter working in the late ""soft style"" of the International Gothic. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven"
"for the electorate. Early in the days of his official employment he startled his master's courtiers by the realism with which he painted still life, game and antlers on the walls of the country palaces at Coburg and Locha; his pictures of deer and wild boar were considered striking, and the duke fostered his passion for this form of art by taking him out to the hunting field, where he sketched ""his grace"" running the stag, or Duke John sticking a boar. Before 1508 he had painted several altar-pieces for the Castle Church at Wittenberg in competition with Albrecht Dürer,"