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Albrecht Dürer (1471–1528) was hailed in his lifetime as a founder of the Northern Renaissance, and his work revolutionized the art of printmaking. Dürer was also the first artist outside Italy to leave behind a large body of writing. Contemporaries and succeeding generations added their accounts of him to this documentary legacy. Jeffrey Ashcroft’s new book provides the first English translation of the whole corpus of Dürer’s writings; the legal, financial, and administrative documentation of his life and work; and what others wrote about him during his life and in the following century. Translations of primary documents are accompanied by extensive commentary, providing Anglophone scholars access to German-language research. This unique combination of documentary evidence, current research, and exhaustive bibliography will doubtless become a definitive source for students and scholars of Dürer and his work, as well as for historians of early modern culture, language, and literature.

A digital copy of "Albrecht Durer And The Epistolary Mode Of Address" by Brisman. Download is immediately available upon purchase!

Make your fine art prints stand out with the Hahnemuhle Albrecht Durer 50% Rag Textured Matte Surface Inkjet Paper. With a weight of 210 gsm and dimensions of 17x22 inches, this high-quality, professional-grade paper is designed to handle the intricate details of your artwork. Each pack comes with 25 sheets of natural white paper, providing a neutral base that enhances the vibrancy and accuracy of your color reproduction. Crafted by Hahnemuhle, a brand renowned for its commitment to superior quality, this paper features a unique 50% rag content. This lends the paper a durable and textured matte surface, perfect for capturing the depth and texture of your artwork. Moreover, this versatile inkjet paper is compatible with a wide range of inkjet printers. Whether you're a professional artist, photographer, or hobbyist, the Hahnemuhle Albrecht Durer 50% Rag Textured Matte Surface Inkjet Paper is an affordable choice for producing stunning, gallery-worthy prints.

When it comes to professional-grade printing, the Albrecht Durer Textured Matte FineArt Inkjet Paper stands out as a superior choice. This high-quality, durable paper is crafted by Hahnemuhle, a brand renowned for its commitment to excellence in the field of fine art materials. Boasting a weight of 210gsm, this mould-made paper is characterized by its natural white hue and 50% rag content, ensuring age resistance and longevity. Designed for single-sided printing, it features a structured watercolor surface that adds a unique depth and texture to your prints, enhancing the natural texture of the original artwork or photograph. The Albrecht Durer FineArt paper is not just versatile but also imparts both a classical and modern feel to art reproductions and photographs. Its textured surface is ideal for reproducing oil and acrylic artworks, making it a favorite among artists and photographers alike. The printed side of this paper undergoes a special coating process to ensure excellent image sharpness and optimum color graduation. This coating also provides a high level of water resistance, further enhancing the durability and longevity of your prints. This 24"x39' roll of paper is not just limited to fine art reproduction. Its professional quality and unique texture make it perfect for a wide range of applications, including business cards, greeting cards, postcards, menus, novelty applications, certificates, and presentation prints for display purposes. In essence, the Albrecht Durer Textured Matte FineArt Inkjet Paper is a testament to the perfect blend of tradition and innovation, offering artists and professionals a canvas that truly brings their work to life.

Because of its unique composition and texture, the Albrecht Durer 210gsm Natural White Inkjet Paper stands out as a superior choice for artists and photographers alike. This 50% rag, age-resistant paper is printable on one side and features a structured watercolor surface that adds depth and dimension to any printed work. The Albrecht Durer paper is mould-made, a process that enhances its durability and gives it a fine watercolor surface. This surface, combined with the warm white tone of the paper, lends both a classical and contemporary feel to art reproductions and photographs. Whether you're printing a black and white fine art photograph or a vibrant, color-rich painting, this paper brings your work to life with exceptional image sharpness and optimum color graduation.The textured surface of this 210 gsm paper not only mirrors the natural texture of the original artwork but also enhances the visual appeal of oil and acrylic reproductions. The specially coated printable side offers a high level of water resistance, ensuring your prints remain vibrant and undamaged over time.The Albrecht Durer Natural White Inkjet Paper is versatile, making it ideal for a range of applications. From fine art reproductions to business cards, greeting cards, postcards, menus, novelty applications, certificates, and presentation prints for display purposes, this paper adds a touch of sophistication and quality to any project. Experience the difference that the Albrecht Durer 210gsm Natural White Inkjet Paper can make in your printing needs. Its superior quality, texture, and durability make it a preferred choice for those seeking to elevate their printed works.

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Discover the Albrecht Durer 210gsm Natural White Inkjet Paper, a premium product designed for artists and photographers seeking a professional, high-quality medium for their work. This 50% rag, age-resistant paper is crafted from recycled cotton fibers, making it an eco-friendly choice for your fine art printing needs.This 13x19" paper, available in a pack of 25 sheets, boasts a textured matte surface that mimics the feel of traditional watercolor paper. The warm white tone of the Albrecht Durer paper lends both a classical and contemporary touch to art reproductions and photographs, enhancing the natural texture of the original artwork.The paper is printable on one side, which has been specially coated to ensure excellent image sharpness and optimum color graduation. This coating also provides a high level of water resistance, ensuring the longevity of your prints. Ideal for a variety of applications, the Albrecht Durer 210gsm Natural White Inkjet Paper is perfect for fine art reproduction, creating unique business cards, designing personalized greeting and post cards, crafting eye-catching menus, novelty applications, and producing certificates and presentation prints for display purposes. Experience the versatility and durability of this professional-grade paper, made by the reputable brand Hahnemuhle, known for its commitment to producing high-quality fine art paper. Whether you're printing paintings, drawings, or reproducing oil and acrylic artworks, this paper delivers a subtle, natural look that enhances the beauty of your creations.

Natural wood frame Oil Image measures 25in x 29in Frame measures 25in x 29in Imported

Unread book in perfect condition.

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The first independent landscapes in European art were produced in southern Germany in the early 16th century by Albrecht Altdorfer of Regensburg (c. 14801538). Entirely empty of subject matter, and elevating the natural world from its more usual pictorial role as a setting, Altdorfer's masterful landscapes mark the origins of a self-consciously German style. Christopher Wood's richly illustrated -assessment of his impact is a crucial contribution to the lit-erature on Northern Renaissance art.

In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In Albrecht Altdorfer and the Origins of Landscape,Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus—the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations. “Excellent illustrations . . . [and] detailed exuberant comments leave the reader in no doubt about Altdorfer’s brilliance and originality.”—Anthony Grafton, New York Review of Books “A study that is bound to become a standard work.”—Independent on Sunday “Sumptuous.”—Daily Telegraph

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 3.22

Art historians have long looked to letters to secure biographical details; clarify relationships between artists and patrons; and present artists as modern, self-aware individuals. This book takes a novel approach: focusing on Albrecht Dürer, Shira Brisman is the first to argue that the experience of writing, sending, and receiving letters shaped how he treated the work of art as an agent for communication. In the early modern period, before the establishment of a reliable postal system, letters faced risks of interception and delay. During the Reformation, the printing press threatened to expose intimate exchanges and blur the line between public and private life. Exploring the complex travel patterns of sixteenth-century missives, Brisman explains how these issues of sending and receiving informed Dürer’s artistic practices. His success, she contends, was due in large part to his development of pictorial strategies—an epistolary mode of address—marked by a direct, intimate appeal to the viewer, an appeal that also acknowledged the distance and delay that defers the message before it can reach its recipient. As images, often in the form of prints, coursed through an open market, and artists lost direct control over the sale and reception of their work, Germany’s chief printmaker navigated the new terrain by creating in his images a balance between legibility and concealment, intimacy and public address.

A panoply of the finest works by Albrecht Dürer, the master of the Northern European Renaissance, is collected in this magnificent book. Vienna's Albertina Museum is home to the world's most comprehensive collection of works by Albrecht Dürer. Dürer's genius for drawing and painting rivaled that of his Italian contemporaries, and his exquisitely detailed and delicately colored watercolors and prints elevated these to new levels of accomplishment. This book includes many of Dürer's most renowned masterpieces: his watercolors The Great Piece of Turf, A Blue Roller, and Left Wing of a Blue Roller; his chiaroscuro drawings Praying Hands and An Elderly Man of 93 Years; and his precocious silverpoint Self-Portrait at 13--along with numerous other works from the Albertina's collection. Beautifully reproduced, these images convey Dürer's fascination with the world around him and his extraordinary ability to bring that world to life.

A polymath of the German Renaissance, Albrecht Dürer (1471–1528) was a prolific artist, theorist, and writer whose works explored everything from religion to art theory to philosophy. His vast body of work includes altarpieces, portraits, self-portraits, watercolors, and books, but is most celebrated for its astonishing collection of woodcut prints, which transformed printmaking from an artisan practice into a whole new art form. Dürer’s woodcuts astonish in scale as much as detail. Through works such as Apocalypse and the Triumphal Arch for Emperor Maximilian I, he created dense, meticulous compositions that were much larger, much more finely cut, and far more complex than any earlier woodcut efforts. With an ambitious tonal and dynamic range, he introduced a new level of conceptual, emotional, and spiritual intensity. His two major woodcut series on Christ’s Passion, named The Large Passion and The Small Passion after their size, are particularly remarkable for their vivid human treatment of the Christian narrative. In his copper engraving, Melancholia I, meanwhile, Dürer created a startling vision of emotional ennui, often cited as a defining early image of a depressive or melancholic state.Ever inquisitive, Dürer absorbed ideas not only from masters and fellow artists in Germany but also from Italy, while his own influence extended across Europe for generations to come. In this essential TASCHEN introduction, we explore this pioneering figure’s complex practice, his omnivorous intellect, and the key works which shaped his enduring legacy.

What do Martin Kippenberger, Mike Kelley, Paul McCarthy, John Baldessari, Wolfgang Tillmans, Isabella Rossellini, Larry Clark and Ennio Morricone have in common? They have all been candidly captured by the lens of Albrecht Fuchs. Here, published for the first time, we see the familiar subjects gazing at the viewer with open demeanor, at home in their environment. These are meticulously constructed images, both in terms of the use of light and color composition. His methodology of respectful distance and loving empathy leads to a strange tension in his photographs, underlying the quietude and equilibrium in the compositions. Photographer Albrecht Fuchs is famous for his color portraits, a field he has been working in for over ten years. His photographs have been displayed in numerous exhibitions in Germany, Switzerland and the Netherlands. Essay by Mark von Schlegell.

Now available in a new edition, this lavishly illustrated volume draws on the latest research to present an exciting new interpretation of Albrecht Dürer, both as a man and as an artist. Albrecht Dürer’s prints and drawings have inspired hundreds of artists, both during his life and after his death. Yet his talent as a painter and colorist, and his enthusiasm for the scientific world have not been widely appreciated. Dürer’s influence was both international and intergenerational―indeed Picasso claimed to have been inspired by the 16th-century artist. Reproduced in stunning detail and including illustrations of Dürer’s most famous prints and drawings, a catalog raisonné of his paintings, and biographical research, this book presents a Dürer for the 21st century. Producing more self-portraits than any other artist of his day; mass marketing his best-selling prints; even inventing his own monogram logo; Albrecht Dürer was commercially astute long before today’s generation of self-promoting and financially-savvy artists. There are 55 extant Dürer paintings, of which 17 are in dispute. Using scientific research, this book puts all arguments to bed resulting in the definitive catalog raisonné of the paintings. Drawing on in-depth research, this book reveals the truth behind Dürer and his art.

Presented in a folder and ornamental slipcase are 32 pages of woodprints series from Durer's "Apocalypse", and an accompanying volume. This series was originally published in 1498 in German and Latin making Albert Durer (1471-1528) known in Europe almost over night. As early as 1511 a second edition followed in book form. Pictures on 15 large woodprints tell of the horror of the last days and the beginning of the kingdom of God as described in the Revelation of St John the Divine. Published shortly before the turn of the 1500s it had a special meaning to the people as the visions were thought to be prophesies of the advancing last days.

Rediscover the drawings of Albrecht Dürer, one of the most prominent Renaissance artists, known as an incomparable painter and draughtsman with a keen eye for the natural world.During his lifetime, Dürer found tremendous success as a painter and printmaker, taking commissions from prominent figures such as Frederick the Wise and Holy Roman Emperor Maximilian I. His drawings and studies reveal his interest in human proportions, anatomy, and perspective. Featured in this book are Dürer's drawings from the Albertina Museum's preeminent collection including family portraits, studies of animals and plants, and studies of the human body. This book showcases more than 100 of Dürer's drawings including Hare, Self Portrait at the Age of 13, and Melencolia I, along with paintings and prints. Featuring scholarly essays and beautifully reproduced works, this book shows the reader not only how important Dürer's drawings are to his own oeuvre, but also how he helped drawing become an appreciated medium in its own right.