Beth on Albrecht Durer

Albrecht Durer (Beth Olry)

Albrecht Durer (1471-1528) was a German painter, progressive thinker, humanist, intellectual and
God-fearing man. He was best known as one of the most important figures of the Northern
Renaissance. His theoretical concepts included mathematics, ideal proportions, and
perspective, which made him famous by the time he was in his twenties. His dislike for the
pedantic restrictions imposed by solitary minds and popular cultural limitations, allowed his art to
surpass the ingenuity of fellow art predecessors.
Durer could be noted as the first to recognize the benefits of mass printing as a medium for
designing, publishing, and selling his own woodcuts and engravings. He was praised for his
extravagant imagination, even by grudging Italians.
His works included: 20th century surrealism, fantastic visions of baroque, and distorted,
psychoerotic figures. Albrecht Durer spent his lifetime bringing proportion and perspective of the
Italian Renaissance to Europe. He spent time with Willibrand Pirckheimer, a German
intellectual, and also explored the works of theology by humanist Erasmus. Durer was a devout
Roman Catholic and admirer of Martin Luther King. One of his greatest role models was
Leonardo da Vinci.
Although recognized as an amazing visionary with gothic undertones, he wanted to portray
himself as a handsome theorist. So much so, that he even painted a well-known self-portrait
depicting himself in Christ-like fashion. Although somewhat vain, seeing himself as a Christ-like
visionary, his vast contributions of perspective, human proportion, and geometry overcame any
forced utilitarian approaches typical of medieval scholasticism.
Durer’s most famous works can be divided into time periods:
1507-1511: Adam and Eve (1507); Virgin of with the Iris (1508); the altarpiece of the
Assumption of the Virgin (1509); the Adoration of the Trinity by all the Saints (1511)
*Also two woodcut series: the Great Passion and the Life of the Virgin (1511)
1511-1514: Durer concentrated on engraving wood and copper. His major work was 37 subjects
of the Little Passion (1511)
1513-1514: Three most famous works in copper engraving: the Knight and Death (aka the
Knight) (1513); Melancolia (1514); St. Jerome in his Study (1514)
1514-1520: Wide range of work was produced including Tempera on Linen (1516)

1520: Durer secured patronage and completed his last journey.
One of Durer’s most analyzed works was Melancolia I because of universal human images and
the ingenuity from metaphors expressed in every detail. It was exemplary of the ambiguous,
mysterious nature of human psyche. The introspective conflict of turmoil and heroic suffering
portrayed were a revolutionary declaration during the face of famine and plague. His deep
religious conviction, moved by the apocalyptic spirit demonstrated his genius as an inspired
creator.
Examples of the chaotic tools he used as geometrical instruments include the wings not used by
the angel, the compass held lifeless in its hands, the dry spirit of the angel contradicted by the
wreath of watercress worn on its head, and “Melancolia” engraved on the wings of a bat (which
is an animal associated with night fears). People described Albrect Durer’s expressed
melancholy as bringing forth miracles.
A quote by Durer that seems to sum up his perspective and contribution to humanism is, “No
single man can be taken as a model for a perfect figure, for no man lives on earth who is

endowed with the whole of beauty.”