Dürer's Rhinoceros The rhinoceros[edit] The first known print of the rhinoceros is a rather primitive woodcut which illustrates a poem by Giovanni Giacomo Penni published in Rome in July 1515. (Biblioteca Colombina, Seville). On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzafar II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros.[7] At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. Dürer's woodcut[edit] The German inscription on the woodcut, drawing largely from Pliny's account,[13] reads:
Dürer's Magic Square Dürer's magic square is a magic square with magic constant 34 used in an engraving entitled Melancholia I by Albrecht Dürer (The British Museum, Burton 1989, Gellert et al. 1989). The engraving shows a disorganized jumble of scientific equipment lying unused while an intellectual sits absorbed in thought. Dürer's magic square is located in the upper right-hand corner of the engraving. The numbers 15 and 14 appear in the middle of the bottom row, indicating the date of the engraving, 1514. Dürer's magic square has the additional property that the sums in any of the four quadrants, as well as the sum of the middle four numbers, are all 34 (Hunter and Madachy 1975, p. 24).
File:Durer lions (sketch).jpg Albrecht Durer - The complete works Dürer, Albrecht Timeline: Northern Renaissance I hold that the perfection of form and beauty is contained in the sum of all men. -- Dürer, Four Books on Human Proportions, 1528 Dürer, Albrecht (b. Born in Nürnberg as the third son of the Hungarian goldsmith Albrecht Dürer. During 1513 and 1514 Dürer created the greatest of his copperplate engravings: the Knight, St. The Seven Sorrows of the Virgin c. 1496-97 (200 kB); Oil on panel, Central panel 109 x 43 cm; Alte Pinakothek, Munich; Side panels 63 x 46 cm; Gemaldegalerie Alte Meister, Dresden St. The Paumgartner Altarpiece c. 1498-1504 (150 kB); Oil on panel, Central panel 155 x 126 cm; Side panels 157 x 61 cm; Alte Pinakothek, Munich A Young Hare 1502 (140 kB); Watercolor and gouache on paper, 25 x 23 cm; Graphische Sammlung Albertina, Vienna The Large Turf 1503 (180 kB); Watercolor and gouache on paper, 41 x 32 cm; Graphische Sammlung Albertina, Vienna The Adoration of the Magi 1504 (60 kB); Oil on wood; Uffizi La Fete du rosaire (1506).
File:Albrecht Dürer - Melencolia I (detail).jpg Albrecht Dürer Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions. Early life (1471–90)[edit] Dürer's godfather was Anton Koberger, who left goldsmithing to become a printer and publisher in the year of Dürer's birth and quickly became the most successful publisher in Germany, eventually owning twenty-four printing-presses and having many offices in Germany and abroad. Because Dürer left autobiographical writings and became very famous by his mid-twenties, his life is well documented by several sources. Wanderjahre and marriage (1490–94)[edit] First journey to Italy (1494–95)[edit] Within three months of his marriage, Dürer left for Italy, alone, perhaps stimulated by an outbreak of plague in Nuremberg.
Albrecht Durer: Muzzle of a Bull Albrecht DürerMuzzle of a Bull watercolor, 1523 From the exhibition Albrecht Dürer and his Legacy British Museum, London December 5, 2002 through March 23, 2003 Image courtesy the British Museum, London The chandelier females - Albrecht Durer Das Lüsterweibchen This artwork is in the public domain. Why? All Albrecht Durer Artworks Sorted by Year Self-Portrait at 13 - Albrecht Durer Saint John`s Church - Albrecht Durer Alliance Coat of Arms - Albrecht Durer Portrait Albrecht Dürer the Elder - Albrech… Portrait of Barbara - Albrecht Durer Self-Portrait with a wrap - Albrecht Durer St Jerome - Albrecht Durer Adoration of kings - Albrecht Durer Christ as the Man of Sorrows - Albrecht Durer Jesus boy with Globe - Albrecht Durer Nude - Albrecht Durer Self-Portrait - Albrecht Durer Use Full screen browser mode for best experience Due to copyright law restrictions this image is not available for your country
Albrecht Dürer: Biography & Painter Renaissance is Albrecht Dürer (1471-1528). We know his life better than the lives of other artists of his time. Dürer traveled, and found, he says, more appreciation abroad than at home. The Italian influence on his art was of a particularly Venetian strain, through the great Bellini, who, by the time Dürer met him, was an old man. Dürer was an extraordinarily learned person, and the only Northern artist who fully infused the sophisticated Italian dialogue between scientific theory and art, creating his exposition on proportion in 1528. Albrecht Dürer was born in the imperial free city of Nuremberg on May 27,1471, at a time when the city was shifting from its Gothic past to a more progressive form of Renaissance Humanism. Dürer, who did not care for goldsmithing, was apprenticed to one of his fathers’ close friends, painter and book illustrator Michael Wohlgmuth, in 1486. Shortly after, Albrecht went onto Basel to work with another of the Schongauer brothers.
ANIMALS, BIRDS, AND INSECTS AND THEIR MEANINGS AARDVARK - a tendency to hide from problems ABOMINABLE SNOWMAN - denotes spiritual truths that are not easily accepted ALLIGATOR - spiritual aspects that are self-serving, can denotes a person who attacks out of nowhere, people who lie in wait and then attack, a person with vicious speech which is destructive ANT - denotes cooperation with others APE - cautions against loss of individuality, pretending to be someone who you are not, aping someone, being a copycat instead of your true self. BABOON - immaturity or lack of individuality. BADGER - denotes a person with a 'nagging' personality, usually one who interferes with another's life. BAT - denotes the use of spiritual intuition in all aspects of life BEAGLE - (dog) refers to a sympathy seeking friend BEAR - an overbearing personality of a friend or situation, someone who can crush another with just a look or a word This negative creature is used in the business world also to denote a negative situation. BLACKBIRD - denotes an omen