"Albrecht Durer (1471-1528) was in a sense the first truly international artist. The collection of his work in the British Museum is one of the best in the world. This book shows how his sophisticated development of the techniques of woodcut and engraving introduced the idea of multiple images into fine art and thereby altered the history of printmaking. The chronology of his career is traced from his early work in the medieval tradition of Martin Schongauer, through the experience he acquired while living in Italy, to his major print projects for the Holy Roman Emperor, Maximilian I." "The book also examines Durer's influence at later periods, from the obsessive interest in his work by collectors and artists during the late sixteenth century to the virtually iconic status he acquired amid the rise of German nationalism during the nineteenth century. The Nobel-winning German novelist Gunter Grass, himself a printmaker, contributes a subjective view of Durer's images from a twentieth-century standpoint, while other introductory essays by Guilia Bartrum, Joseph Koerner and Ute Kuhlemann consider aspects of Durer's legacy through history. The illustrations include all Durer's best-known prints as well as numerous drawings and watercolours."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

One of the most admired artists of the northern Renaissance is featured in a richly illustrated, with hundreds of images--including woodcuts, engravings, drawings, and paintings--surveying his remarkable contribution to German thought, culture, and art. (Fine Arts)

Albrecht Durer's (1471-1528) travels across Europe in the early Renaissance led to a fascinating interchange of ideas with his fellow artists, both northern and southern. This book explores Durer's extensive influence on his contemporaries and his sources of inspiration, bringing together paintings, drawings, sculptures, glass, and prints by artists he may have encountered along the way. It also examines the complex development of Durer's own status as an artist entrepreneur and innovator in artistic theory.0 Durer's journal records his pursuit of commissions and details his visits to Italy, Antwerp, Cologne, Brussels, Ghent, and Bruges. During this time he produced a trove of landscapes, portraits, and animal drawings, and studies for larger projects, such as the painting of Saint Jerome that would become his most copied work. Durer's travels informed some of his most exciting and engaging works, and their visual legacy extended far beyond his lifetime and throughout the continent.00Exhibition: The National Gallery, London, UK(06.03.?13.06.2021) / Suermondt-Ludwig Museum, Aachen, Germany (18.07.-24.10.2021).

Though most famous for his engravings, Albrecht Durer (1471-1528) was also a master painter and draftsman whose work exemplifies the spirit of German art. This overview of Durer's entire oeuvre is an ideal introduction to his work.

Focusing on the ways his art and persona were valued and criticized by writers, collectors, and artists subsequent to his death, this book examines the reception of the works of Albrecht Dürer. The author traces carefully how Dürer's paintings, prints, drawings and theoretical writings traveled widely, and were appropriated into new contexts and charged with different meanings. The volume includes illustrations of numerous imitative works after Dürer.

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.