The best known Durer paintings were 18 engravings of the Apocalypse cycle, the most interesting of which was The Four Horsemen of the Apocalypse, done in 1498. Albrecht Durer's early training was in drawing, woodcutting and printing, which remained his main and favourite media throughout his artistic career.
Frederick the Wise, Elector of Saxony from 1496, was one of Albrecht's patrons. He commissioned Albrecht to paint several altarpieces, The Seven Sorrows of the Virgin, The Jabach Altarpiece, The Martyrdom of the Ten Thousand and The Adoration of the Magi. The latter was considered to be one of the masterpieces among Durer paintings.
In the 1950s, Albrecht made a journey to the Netherlands where he met many famous Netherland painters, including Quentin Massys, Joos van Cleve and Lucys van Leyden. He met Erasmus, a humanist scholar in Antwerp. It was then that he sketched his portrait, another sampling of Durer paintings of that period.
Several self-portraits comprised Durer paintings. They gave the greatest insight into the Albrecht's character and beliefs. Among these self-portraits are Self-Portrait at 22, Self-Portrait at 26 and Self-Portrait at 28. They were respectively completed in 1493, 1498 and 1500. It was in Venice that he knew and admired above all else, the aged Giovanni Bellini, an old Italian master.
A monumental print project among Durer paintings is represented by The Triumphal Arch. It was 330 cm or 11" high and composed of 192 woodblocks. It remains to be the largest woodcut print ever made to this day. Emperor Maximilian, who commissioned the huge print, granted Albrecht a pension of 100 florins, which was subsequently stopped upon the Emperor's death in 1519.
The range and versatility of Durer paintings was astonishing, to say the least. Albrecht's woodcuts and engravings made him famous across Europe. He remains to be considered as the greatest printmaker of all time. He was equally successful at religious and secular subjects, as an oil painter.
Frederick the Wise, Elector of Saxony from 1496, was one of Albrecht's patrons. He commissioned Albrecht to paint several altarpieces, The Seven Sorrows of the Virgin, The Jabach Altarpiece, The Martyrdom of the Ten Thousand and The Adoration of the Magi. The latter was considered to be one of the masterpieces among Durer paintings.
In the 1950s, Albrecht made a journey to the Netherlands where he met many famous Netherland painters, including Quentin Massys, Joos van Cleve and Lucys van Leyden. He met Erasmus, a humanist scholar in Antwerp. It was then that he sketched his portrait, another sampling of Durer paintings of that period.
Several self-portraits comprised Durer paintings. They gave the greatest insight into the Albrecht's character and beliefs. Among these self-portraits are Self-Portrait at 22, Self-Portrait at 26 and Self-Portrait at 28. They were respectively completed in 1493, 1498 and 1500. It was in Venice that he knew and admired above all else, the aged Giovanni Bellini, an old Italian master.
A monumental print project among Durer paintings is represented by The Triumphal Arch. It was 330 cm or 11" high and composed of 192 woodblocks. It remains to be the largest woodcut print ever made to this day. Emperor Maximilian, who commissioned the huge print, granted Albrecht a pension of 100 florins, which was subsequently stopped upon the Emperor's death in 1519.
The range and versatility of Durer paintings was astonishing, to say the least. Albrecht's woodcuts and engravings made him famous across Europe. He remains to be considered as the greatest printmaker of all time. He was equally successful at religious and secular subjects, as an oil painter.
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