1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre
Painting ID:: 63571
Albrecht Durer 1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre Three Peasants in Conversation 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.
