1521 Engraving, 117 x 75 mm Metropolitan Museum of Art, New York This is the first engraving after D?rer's return from his long stay in the Netherlands. He had left on July 12, 1520, together with his wife and a maid, in order to appeal to the new Emperor, Charles V, to confirm his annuity. No engravings were executed during this trip. D?rer returned to Nuremberg toward the end of July 1521, having been greatly honoured, yet also a sick man suffering from malaria. This engraving is presumably based on one of the several drawings D?rer made at Antwerp for the Dutch landscape painter Joachim Patenier in May 1521. The hermit in the background is carrying a torch.Artist:D?RER, Albrecht Title: St Christopher Facing to the Right Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63616
Albrecht Durer 1521 Engraving, 117 x 75 mm Metropolitan Museum of Art, New York This is the first engraving after D?rer's return from his long stay in the Netherlands. He had left on July 12, 1520, together with his wife and a maid, in order to appeal to the new Emperor, Charles V, to confirm his annuity. No engravings were executed during this trip. D?rer returned to Nuremberg toward the end of July 1521, having been greatly honoured, yet also a sick man suffering from malaria. This engraving is presumably based on one of the several drawings D?rer made at Antwerp for the Dutch landscape painter Joachim Patenier in May 1521. The hermit in the background is carrying a torch.Artist:D?RER, Albrecht Title: St Christopher Facing to the Right Painted in 1501-1550 , German - - graphics : religious St Christopher Facing to the Right b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, 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 mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
