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However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi (1526), and two panels showing St. John with St. Peter and St. Pa...
As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise. The portraits include his boyhood friend Willibald Pirckheimer, Cardinal-Elector Albert of Mainz; Frederick the Wise, elector of Saxony; Philipp Melanchthon, and Erasmus of Rotterdam. For those of the Cardinal, Melanchthon, ...
Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and correspondence with Erasmus and ...
Dürer died in Nuremberg at the age of 56, leaving an estate valued at 6,874 florins – a considerable sum. He is buried in the Johannisfriedhof cemetery. His large house (purchased in 1509 from the heirs of the astronomer Bernhard Walther), where his workshop was located and where his widow lived until her death in 1539...
Dürer and the Reformation
Dürer's writings suggest that he may have been sympathetic to Luther's ideas, though it is unclear if he ever left the Catholic Church. Dürer wrote of his desire to draw Luther in his diary in 1520: "And God help me that I may go to Dr. Martin Luther; thus I intend to make a portrait of him with great care and engrave ...
Dürer's later works have also been claimed to show Protestant sympathies. His 1523 The Last Supper woodcut has often been understood to have an evangelical theme, focusing as it does on Christ espousing the Gospel, as well as the inclusion of the Eucharistic cup, an expression of Protestant utraquism, although this int...
Theoretical works
In all his theoretical works, in order to communicate his theories in the German language rather than in Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language. For example, Schneckenlinie ("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose ...
Four Books on Measurement
Dürer's work on geometry is called the Four Books on Measurement (Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler). The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollo...
The second book moves onto two-dimensional geometry, i.e. the construction of regular polygons. Here Dürer favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography. In architecture Dürer cites Vitruvius but elaborates his own classical d...
Four Books on Human Proportion
Dürer's work on human proportions is called the Four Books on Human Proportion (Vier Bücher von menschlicher Proportion) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions ...
Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless...
Book on Fortification
In 1527, Dürer also published Various Lessons on the Fortification of Cities, Castles, and Localities (Etliche Underricht zu Befestigung der Stett, Schloss und Flecken). It was printed in Nuremberg, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in Arnhem. In 1535 it was also translated into Lat...
The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal fortification (the trace italienne – see Bastion fort), though his designs seem to have had some influence in the eastern German lands and up into the Baltic region.
Fencing
Dürer created many sketches and woodcuts of soldiers and knights over the course of his life. His most significant martial works, however, were made in 1512 as part of his efforts to secure the patronage of Maximilian I. Using existing manuscripts from the Nuremberg Group as his reference, his workshop produced the ext...
Legacy and influence
Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominantly in private collections located in only a few cities. His success in spreading his reputation across Europe throu...
His engravings seem to have had an intimidating effect upon his German successors; the "Little Masters" who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions. Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in ...
In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially...
The Lutheran Church commemorates Dürer annually on 6 April, along with Michelangelo, Lucas Cranach the Elder and Hans Burgkmair.
In 1993, two of Dürer's drawings – Women's Bathhouse, valued at about $10 million, and Sitting Mary With Child – along with other works of art were stolen from the National Art Museum of Azerbaijan. The drawings were later recovered.
Gallery
Religious paintings
Portraits
Watercolours