Spirit of the Ages logo


[''Liber Chronicarum'']  [''Cosmographia'']  [''Geographia'']  [''Opera''']  [''Theuerdank'']  [''Der Weiß Kunig'']

[''Turnierbuch'']  [''Der Todten-Tantz'']  [Hans Holbein the Younger]  [16th and 17th Century artwork]








The Art of Albrecht Durer



Albrecht Durer (1471-1528) is justifiably regarded as the greatest German Renaissance artist, for, as a young Goethe claimed, Durer "when one

has learnt to know him thoroughly, has not rival but the first men of the Italian school in truth, in sublimity and even in grace".


During his lifetime, he produced an extensive body of work that included altarpieces and other religious works, many portraits and self-portraits,

copper engravings and woodcuts. Stylistically, Durer produced revolutionary work – particularly following his first journey to Italy – that provided

some of the highlights of late German Gothic art before becoming masterful examples of techniques traditionally associated with Italian

Renaissance Masters.


Knackfuss (''Durer'': H Grevel & Co, London; 1900) comments on Durer's success during his lifetime thus:


Durer's fame as an artist was undisputed even in his lifetime - not only in Germany and the

Netherlands, but also in Italy. At Venice, as well as at Antwerp, an annual pension was offered

in order to retain him permanently and it was only his sense of patriotism that resisted the

offers which was sufficiently good to be tempting. When he travelled from Venice to Bologna,

he was greeted by the artists of the latter place with extravagant rejoicings - and at Ferrara,

poems were composed in his honour.


The contemporary description of Durer personality, skill and inspiration, as provided by Joachim Camerarius in his Foreword to the Latin edition

of Durer's "Doctrine of Proportion", is also illuminating.


Albrecht Durer (self-portrait)


Above, we show Durer's self-portrait

depicting the artist at the age of 28


The Albrecht Durer Collection at Spirit of the Ages includes images from some of Durer's seminal work, including:


 Special Offer




Free Item with Purchase

Follow us


'Spirit of the Ages' Facebook Page

Like us




Share us



Follow us


Follow us on Twitter 


Our Blog


Follow our Blog


Spirit of the Ages - Blog

RSS Feed


'Spirit of the Ages' RSS feed




Subscribe to our Blog by eMail through Feedburner

Subscribe to our Blog by eMail

through Feedburner



Email Us

Enter your comments in the space provided below


Tell us how to get in touch with you:




Make a donation through PayPal


We invite you to take the time to peruse the wonderful artwork from Albrecht Durer that is included in the Collection - to view images from any one of Durer's suites or prints listed

below, simply 'click' on the hyperlinks embedded within the titles and the images.




Illustrations by Albrecht Durer




Albrecht Durer

''Apocalipsis cum Figuris''

15 plates

Albrecht Durer

''The Large Passion''

11 plates

Albrecht Durer

''The Life of the Virgin''

19 plates

Albrecht Durer

''The Small Passion''

36 plates




Albrecht Durer

''The Engraved Passion''


 15 plates

Albrecht Durer - illustrations from ''Apocalipsis cum Figuris'' Albrecht Durer - illustrations from ''The Large Passion'' Albrecht Durer - an illustration from ''The Life of the Virgin'' Albrecht Durer - an illustration from ''The Small Passion'' Albrecht Durer - an illustration from ''The Engraved Passion''  

Albrecht Durer

''The Sea Monster''

1 plate

Albrecht Durer

''Adam and Eve''

1 plate

Albrecht Durer

''Knight, Death and the Devil''

1 plate

Albrecht Durer

''St Jerome in his Study''

1 plate




Albrecht Durer

''Melancolia I''

1 plate

Albrecht Durer - ''The Sea Monster''  Albrecht Durer - ''Adam and Eve'' Albrecht Durer - ''Knight, Death and the Devil'' Albrecht Durer - ''St Jerome in his Study'' Albrecht Durer - ''Melancolia I''  

Albrecht Durer

''The Abduction of Proserpine''

1 plate




Albrecht Durer

''Saint Anthony''

1 plate




Albrecht Durer

''Cardinal Albrecht of Brandenburg''

1 plate

Albrecht Durer - ''The Abduction of Proserpine'' Albrecht Durer - ''Saint Anthony'' Albrecht Durer - ''Cardinal Albrecht of Brandenburg''      




Albrecht Durer

''Great Triumphal Chariot of Maximilian I''

8 joined plates

Albrecht Durer - ''Great Triumphal Chariot of Maximilian I''    


Joachim Camerarius' Foreword to the Latin edition of Durer's "Doctrine of Proportion"


Nature had given him a body of handsome make and stature, suitable to the beautiful spirit which it contained. He had an alert head, brilliant eyes, a fine and powerful nose; his

neck was slightly too long, his chest broad, his body slim, his thin sinewy, his legs stalwart. His fingers were so shapely that none more beautiful can ever have been seen. But

there was such a music and charm in his utterance that his listeners could not but be sorry when he ceased to speak. His soul was filled with ardent desire for all that was

honourable in manners and conduct and he set such an example that he was deservedly esteemed a man of the highest excellence. For all that, he was not stern or sullen, nor

of a displeasing seriousness; on the contrary, whatever tends to amenity and cheerfulness, without conflicting with honour and rectitude, he had cultivated himself throughout his

life and still approved in his old age - as is proved by the writing which he left on gymnastics and on music.


But nature had fashioned him beyond all else for a painter, wherefore he gave himself up to the study of that art with all his might, and was bent on making himself acquainted

with the works of famous painters in every country and on learning their theory and practice and making his own so much of it as he thought good. It is the perfect justice that we

admire Albrecht as the most zealous upholder of purity and good morals and as a man who let it be known through the grandeur of his paintings that he was conscious of his

power, while even his less important works are by no means to be despised. We find in them not a line unconsidered or ill-drawn, not a dot superfluous.


What shall I say of the firmness and sureness of his hand? One could almost swear that he had used rule and compass for what he had drawn just with the brush, the pencil or

the pen and no other assistance - to the amazement of all beholders. How can I tell of the close correspondence between hand and creative spirit which he displayed when he

would draw on paper the counterfeit of anything whatsoever? It will, no doubt, appear incredible to those who read my words hereafter that he sometimes began a drawing of a

composition or of a body in different places, wide apart, which yet, when he came to connect them, united so perfectly that nothing more coherent could be imagined. With the

like readiness, he carried out the most delicate things on canvas or panel with the brush without a preliminary drawing - and did so without a fault, or rather so as to win the

highest praise for it all. This was most admired by the most famous painters, since they best understood the feat and appreciated its difficulty.


High as Albrecht stood, his great and lofty spirit was ever craving for some still higher perfection. If there was anything at all in this man which resembled a fault, it was his

unbounded industry and the keen self-criticism which hardly did justice to his own achievements.


There is nothing impure, nothing unworthy, in his works; for the thought of his chaste mind shrank from all such things. How worthy was the artist of his great success!



Return to Top




[Home]  [Medieval and Renaissance Collection]  [Golden Age of Illustration Collection [Myths]  [Fables]  [Fairies]  [Fairy Tales[Blog]  [About Us]  [Special Offer]


Send mail to ThePeople@SpiritoftheAges.com with questions or comments about this web site.
Copyright © 2007 Spirit of the Ages