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The Great Courier
1495 Engraving, 100 x 113 mm Kupferstichkabinett, Dresden Earlier doubts have given way to the opinion that this is D?rer's first experimental engraving since a drawing was found at Danzig (presently Gdansk in Poland) which apparently served as the model for this subject. This drawing is inscribed by D?rer: This was drawn by Wolfgang Peuer in the year 1484. Nothing else is known about Peuer. He may have been an apprentice or an assistant in the goldsmith's shop of D?rer the Elder or in the workshop of D?rer's teacher, the painter Michael Wolgemut. The watermark of the paper used for the printing of this engraving, "Cardinals's Hat," was used by D?rer infrequently beginning in 1507. It was also used for the posthumous edition of D?rer's book Unterweisung der Messung (Instructions on measurement). The rarity of this print, as well as the watermark, suggests that the remaining impressions (Dresden, Melbourne, Paris aand Vienna) are posthumous.Artist:D?RER, Albrecht Title: The Great Courier Painted in 1501-1550 , German - - graphics : other


Albrecht Durer The Great Courier

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Albrecht Durer:
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.

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