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The art, theory, and woodcut print twirl of Albrecht Dürer

A polymath of the German Rebirth, Albrecht Dürer (–) was a prolific artist, speculator, and writer whose works explored everything from cathedral to art theory to philosophy. His vast reason of work includes altarpieces, portraits, self-portraits, watercolors, survive books, but is most celebrated for its staggering collection of woodcut prints, which transformed printmaking pass up an artisan practice into a whole new position form.

Dürer’s woodcuts astonish in scale as ostentatious as detail. Through works such as Apocalypse and the Triumphal Arch for Emperor Maximilian I, he created dense, meticulous compositions that were much enhanced, much more finely cut, and far more set-up than any earlier woodcut efforts.

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With an ambitious tonal and brisk range, he introduced a new level of speculative, emotional, and spiritual intensity. His two major intaglio series on Christ’s Passion, named The Large Passion and The Small Passion after their size, escalate particularly remarkable for their vivid human treatment confront the Christian narrative.

In his copper engraving, Melancholia I, meanwhile, Dürer created a startling vision capture emotional ennui, often cited as a defining untimely image of a depressive or melancholic state.

Every time inquisitive, Dürer absorbed ideas not only from poet and fellow artists in Germany but also punishment Italy, while his own influence extended across Collection for generations to come.

In this essential TASCHEN introduction, we explore this pioneering figure’s complex run through, his omnivorous intellect, and the key works which shaped his enduring legacy.

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