This work was published on July 13, 1515 (about 10 cm x 9,5 cm) and depicts the oldest representation of the Rhinoceros (Dürer's Rhinoceros) since Roman times, of a specimen known by its Gujarati name of Ganda, precented to King Manuel I of Portugal, by Afonso de Albuquerque in May 1515.
Like Dürer's Rhinoceros this is art based on the best information available.
Norfolk based his second novel, The Pope's Rhinoceros, on the story of an actual animal; see Dürer's Rhinoceros.
Albrecht Dürer | Rhinoceros | Dürer | rhinoceros | Rhinoceros Hornbill | Dürer's Rhinoceros | White Rhinoceros | Rhinoceros (band) | Durer's | "The “Rhinoceros" woodcut (34 × 20.5 cm or 11.8×8.0 inches) by David Kandel, published in Sebastian Münster's “Cosmographia” of 1598. The obvious resemblance with Dürer's Rhinoceros | ''Secrétair Deuxième Rhinoceros'' (1966), Musée des Arts Décoratifs | Rhinoceros (play) | Rhinoceros (film) | Javan Rhinoceros | Japanese rhinoceros beetle | black rhinoceros | Adoration of the Trinity (Dürer) |
Carol has been visiting a psychoanalyst (George Rigaud) because of a string of disturbing dreams she's been having featuring her decadent neighbor, Julia Durer (Anita Strindberg).
The Grapevine (1960) evokes Tiepolo's sunlight, The Quince Tree (1962) Chardin's dusky murk, and other paintings echo Old Masters from Dürer to Degas.
In addition to Dürer, the Apollo was sketched and copied by several major artists during the late Renaissance, including Michelangelo, Bandinelli, and Goltzius.
In 1961 the Italian art historian Roberto Longhi recognized it as by Dürer, and, a few years later, the work was acquired by the collection currently owning it.
Dürer also painted another castle owned by the Bevilacqua family: View of Arco (1495) was a watercolour and gouache on paper now displayed in the Musée du Louvre, Paris.
The 1516 painted copy of the Shroud of Turin, commonly attributed to Albrecht Dürer, is also sometimes attributed to Bernard van Orley.
After Dürer: Ecce Homo (from etching); Ecce Homo (from wood-cut).
Her first published work, "The Literary Remains of Albrecht Dürer", appeared in Edinburgh Review.
However, the Hopfer family did not hesitate to plagiarize the work of their contemporaries: of Daniel's 230 known prints, 14 are copies of other masters, mainly Mantegna, whilst only a minority of Hieronymus' 82 plates are his original work—no less than 21 are copies of Durer's works, and around 30 others are copies from Jacopo de' Barbari, Raimondi and Altdorfer among others.
The woodcut “Rhinoceros”, for the work Cosmographia (or “Cosmography”) by Sebastian Munster is, along with his maps, also very famous and depicts a rhinoceros truly based on the Dürer sketch.
On the side of the building facing the Elbe, the names of Pheidias, Iktinos, Praxiteles, Polykleitos, Lysippos, Erwin von Steinbach, Leonardo da Vinci, Michelangelo, Raphael and Dürer are inscribed on the wall and on the other side the motto "DEM VATERLAND ZU ZIER UND EHR" - "For the Honour and Adornment of the Fatherland" - is inscribed.
Drawing on sources such as Roman military art (the statue of Marcus Aurelius on horseback), Renaissance equestrian imagery such as the engravings of Hans Burgkmair, and possibly Dürer's 1513 engraving Knight, Death and the Devil, Titian departs from the traditional rendering of rider on horse, in which one of the horse's front legs is raised (as seen in the gallery of Roman and Renaissance works below).
The contract was renewed in the Italian city by the brotherhoods of the traders from Nuremberg (Dürer's hometown) and from other German cities, the latter being supported by the Fugger family.
From the Strasbourg artists of that time actually only Hans Baldung, one of the most important painters of the time of Dürer, was considered for any painting jobs (mainly portraits), which is why Vogtherr now found his living mainly in the production of book illustrations.
The first volume, The Moment of Self-Portraiture in German Renaissance Art (1993), studied Albrecht Dürer’s self-portraits and their distortion by Dürer’s disciple, Hans Baldung Grien.
About this time he began to make copies of Dürer's woodcut series, the Life of the Virgin.
His manuscript illumination The Holy Trinity particularly demonstrates the influence of Albrecht Dürer's Adoration of the Trinity, also known as the Landauer Altarpiece, painted in 1511.
Germanisches Nationalmuseum, Nuremberg|Albrecht Dürer the Elder with a Rosary, 1490.
Dürer painted two portraits of his father, one from April 1490 -the month before he left on his travels as a journeyman painter- and Portrait at 70 just after his return home to Nuremberg.
In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with Dürer.
Another major influence on Durer’s works was the rise of Nuremberg as an intellectual center and as a leader in engravings.
The work was commissioned by Frederick III, Elector of Saxony, not a long time after his meeting with Dürer at Nuremberg in April 1496.
The abbey possesses one of the largest collections of art in Europe, including graphics, coins, sacred art, and paintings by among others Rubens, Van Dyck, Dürer, Holbein and Kremser Schmidt, as well as an extensive and important library of over 180,000 books and manuscripts from between the 5th and 18th centuries.
Her work has been admired by contemporary artists Albrecht Durer, Guicciardini and Vasari.
The Teleki Blanka Gymnasium is a gymnasium located on 37 Ajtósi Dürer sor in the neighbourhood of Városliget in the XIVth district of Budapest, Hungary.
Prints by Albrecht Dürer, William Hogarth, Jose Guadalupe Posada, and Max Beckmann were featured alongside Huck's "The Transformation of Brandy Baghead Pts. 1, 2, & 3".
His artistic output, arising from the tradition of Albrecht Dürer and Hans Baldung, includes a wide range of subjects, depicting social, erotic, military, political and criminal images (e.g., Two Prostitutes Beating a Monk), as well as strong religious feelings which emerge in some works.