Toutes peintures à l'huile d'Albrecht Durer

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42353

The Muse Calliope an Engraver of Ferrara

mk168 201x141mm

42328

The Mystical Betrothal of St.Catherine of Alexandria

mk168 234x201mm

33512

The Nativity

mk86 c.1502-1504 Tempera on wood 155x126cm Munich,Bayerische Staatsgemalde-sammlungen,Alte Pinakothek

21359

The Nativity (mk08)

c.1502-1504 Tempera on wood 155x126cm Munich,Bayerische-Staatsgemalde-sammlungen,Alte Pinakothek

42411

The Negress Katharina

mk168 200x140mm

63586

The Negress Katherina

1521 Silverpoint drawing on paper, 20 x 14 cm Galleria degli Uffizi, Florence D?rer drew the Negress Katherina, the servant of the Portuguese factor Jo?o Brand?o in Antwerp, when she was aged "20 Jar," according to the handwritten note. The portrait drawing is part of a group of works that were created for reasons of personal interest. The portrayed woman is gazing directly at the observer. The curves of her face are modeled with fine lines and cross-hatchings.Artist:D?RER, Albrecht Title: The Negress Katherina Painted in 1501-1550 , German - - graphics : portrait

42410

The Painter Lucas Van Leyden

mk168 244x171mm

1052

The Painter's Father_l

1497 The National Gallery, London

63612

The Peasant and His Wife at the Market

116 x 73 mm Metropolitan Museum of Art, New York Like almost all engravings after 1514, it is devoid of any landscape in the background. Everything, even the chickens, is shown with an intensity.Artist:D?RER, Albrecht Title: The Peasant and His Wife at the Market Painted in 1501-1550 , German - - graphics : genre

63568

The Penance of St John Chrysostom

1496 Engraving, 180 x 119 mm Metropolitan Museum of Art, New York St John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called "golden-mouthed" (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor's daughter, having lost her way one day, sought refuge in his cave. Upon her insistence he admitted her and they sinned. As penance he vowed to walk on all fours until forgiven. Years later the Empress gave birth to another child who refused baptism except from St John Chrysostom. Everyone despaired of finding him, when some hunters brought a strange wild animal to the festivities. The child, seeing the animal, said, "You are forgiven." St John stood up and shed his long moss-covered hair, and the Pope recognized him. The courtiers searched the desert and found the Emperor's daughter, who had also survived the ordeal in the wilderness. Mrs. Heaton, D?rer's first biographer in English, describes the scene very poignantly: "The princess is quite naked and more graceful in form and more beautiful of face than most of D?rer's female figures. There is a certain tenderness about her that makes us think that perhaps D?rer's sympathies were not entirely with the repentant saint who is seen in the background." The composition was perhaps suggested to D?rer by Jacopo de Barbari's engraving Cleopatra (or vice versa). Raphael must certainly have known this engraving since he borrowed the landscape and the castle, which appear the same in the Oxford drawing for Raphael's Pasadena Madonna and Child. D?rer's figures, however, were of no interest to Raphael.

42382

The Penance of St.Jerome

mk168 Oil on pear wood

42375

The Penance of St.John Chrysostom

mk168 181x117mm

63570

The Prodigal Son

261 x 202 mm Staatliche Kunsthalle, Karlsruhe In the Engraving of The Prodigal Son, D?rer deviated considerably from earlier depictions of the theme. Here, the scene is placed in the midst of a Franconian farm and shows the prodigal son at the moment of his repentance, kneeling in prayer on a pile of manure in the foreground amongst the swine. The naturalism of the picture was widely admired and contributed to the fame of the engraving.Artist:D?RER, Albrecht Title: The Prodigal Son Painted in 1501-1550 , German - - graphics : religious

42316

The Prodigal Son Amid the Swine

mk168 248x190mm

42317

The Prodigal Son Amid The Swine

mk168 248x190mm

63639

The Prodigal Son among the Swine

1497-98 Pen, 217 x 219 mm British Museum, London The sheet, which is cut at top and bottom, is a preliminary drawing for the (also undated) copperplate engraving, which may be assigned to 1497-98. In the engraving the houses were brought lower, the figures were brought closer together, and the best pig (the one with its feet in the trough) was omitted. The praying swineherd, whose bodily articulation is not easily discernible even in the drawing (the springing of the left leg!) became more unclear in the engraving. Such cases are important for the proper evaluation of the more mature master's efforts for complete clarity of representation.Artist:D?RER, Albrecht Title: The Prodigal Son among the Swine Painted in 1501-1550 , German - - graphics : religious

42337

The Samll Horse

mk168 164x109mm

42348

The Sea Monster

mk168 246x187mm

52013

The Seven Sorrows of the Virgin

c. 1496 Oil on panel, 109 x 43 cm

63736

The Seven Sorrows of the Virgin: The Flight into Egypt

1496 Oil on pine panel, 63 x 45,5 cm Gem?ldegalerie, Dresden The Flight into Egypt is one of seven scenes from the Life of Christ which originally surrounded the large central panel of the Mother of Sorrows. In the Gospel of St Matthew (Matt. 2, 13-14), the event is mentioned briefly, though narrated in more detail in the Apocrypha. King Herod ordered that all newborn sons should be killed once he had found out that a future king would be born in Judea. An angel conveys to Joseph God's message to leave the town. Thus the Holy Family fled to Egypt. The group of figures, with Mary riding and holding the Christ Child and Joseph leading the ass, is arranged parallel to the picture in the foreground, an arrangement which is repeated in the later woodcut in the Life of the Virgin. In the foreground the path is stony, and in the background a rocky landscape is visible. The rock is a sign of a safe place of refuge, but can also be interpreted as a mariological and christological symbol: "The stone which the builders rejected, the same is become the head of the corner" (Matt. 21, 42). Both the composition and method of painting still owe much to the Late Medieval workshop tradition.Artist:D?RER, Albrecht Title: The Seven Sorrows of the Virgin: The Flight into Egypt Painted in 1501-1550 , German - - painting : religious

42335

The Small Horse

mk168 164x109mm

63677

The Stork

1515 Pen drawing Mus?e d'Ixelles, BrusselsArtist:D?RER, Albrecht Title: The Stork Painted in 1501-1550 , German - - graphics : study

42305

The Sudarium Held By An Angel on a small Cartellino

mk168 185x134mm

42357

The Suicide of Lucretia

mk168 168x75cm

52017

The Suicide of Lucrezia

1518 Oil on lime panel, 168 x 74,8 cm

63577

The Temptation of the Idler; or The Dream of the Doctor

1498 Engraving, 188 x 119 mm Metropolitan Museum of Art, New York It has been observed by every commentator on D?rer's genius that in his work is found the blending .of two great traditions the medieval, culminating in the Gothic, and the revered Classical, rediscovered and nurtured by the Renaissance, especially in Italy. Erwin Panofsky feels that The Dream, sometimes called The Dream of the Doctor, should be titled The Temptation of the Idler, for here is pictured a slothful, self indulgent individual who sleeps in front of his heated fireplace, comfortably resting his head against a soft pillow. According to medieval codes of conduct such behaviour encouraged temptation, which is represented by the Devil, a demon who "blows" thoughts, presumably evil, into the sleeper's ear. Probably the dream itself is represented by the nude Venus, voluptuous and inviting. She is accompanied, no doubt to identify her, by a playful Eros. The model for the female form may well have been taken from the languorous women of the Italian Jacopo de' Barbari, whose engravings D?rer admired, or from other works by Italian masters which he knew. Young D?rer was trained as an apprentice in his father's goldsmith shop. There he learned the use of the graver or burin for incising designs and images into metal. Practically all of the great masters of the engraved print had similar early training. D?rer's mastery of his tools is evident in this print. Note the clean, sure flicks of the graver, suggesting modeling and volume. In the upper background, minute crosshatching is employed to project the sleeping figure forward from the rear plane. D?rer's training as a goldsmith also prepared him to render the hardware of the furniture, the texture of the tiles, and the graining of wood.Artist:D?RER, Albrecht Title: The Temptation of the Idler; or The Dream of the Doctor Painted in 1501-1550 , German - - graphics : other

42255

The Theater of Terence

mk168 93x147mm

63649

The Virgin among a Multitude of Animals

1503 Pen and ink and watercolour on paper, 321 x 243 mm Graphische Sammlung Albertina, Vienna The Virgin holds the Christ child, who ignores the natural wonders around him and points towards Joseph. The small figure of Joseph stands near the house and he appears to be conversing with a stork. A closer examination reveals that many incidents from the story of the Nativity are being told. An angel swoops down from the sky to give news of Christ's arrival to shepherds tending their flocks on the hillside. On the left side of the picture, the ships of the three Kings have arrived and the Magi are setting off with their retinues. This charming picture is distinguished from countless depictions of the Nativity by the wonders of nature which D?rer has included. The parrot, perched on the pole by the Virgin's side, was the prophet which announced her arrival. D?rer drew this bird from an earlier study. The artist loved parrots and he later acquired several live specimens on his trip to the Netherlands in 1521. Just beneath the parrot in the watercolour is a green woodpecker, ready to hammer out a song of praise. In the bottom left corner a large stag beetle teases the Virgin's faithful but sleepy dog and a butterfly has gently alighted on its back. All the creatures have a meaning. The chained fox is a symbol of evil. The two owls around the tree stump represent the forces of darkness, but Christ's appearance has deprived them of their power. In the bottom right corner is a crab, like the one which D?rer painted on his first visit to Venice. Among other creatures are a snail, a dragonfly, a pair of swans, a robin, a moth and a water wagtail. D?rer has delicately added colour wash to his pen and ink drawing, blue for the sky and water, a range of greens for the landscape and traces of red for the flowers. The resulting work is extremely delicate, portraying the Virgin and Child with great tenderness and a touch of humour. Two other versions of this picture exist and the composition may well have been intended as a study for a proposed engraving.Artist:D?RER, Albrecht Title: The Virgin among a Multitude of Animals Painted in 1501-1550 , German - - graphics : religious

42485

The Virgin and child at a window

mk168 52x41cm Oil on linden wood

41315

The Virgin and child with St.Anne

mk161 Tempera and oil on canvas transferred from wood 23x19

42462

The Virgin as Mater Dolorosa

mk168 109x43cm Oil on coniferous wood

42276

The Virgin before an archway

mk168 Oil on wood 48x36cm

42456

The Virgin by the Wall

mk168 1514 147x102mm

42479

The Virgin in Prayer

mk168 Oil on linden wood 1518

52021

The Virgin Mary in Prayer

1518 Oil on lindenwood, 53 x 43 cm

63648

The Virgin Nursing the Child

1512 Charcoal, 418 x 288 mm Graphische Sammlung Albertina, Vienna (The sheet is drastically cut at the right and the bottom.) This can scarcely be considered as a preliminary study for a painting; on the contrary, it is an independent drawing par excellence, with a great deal of curly and distinct linear movement. It is clear from this how incompletely the tortured motif of the 1512 painting of the Virgin (Vienna) reveals the artist's general frame of mind in this period.Artist:D?RER, Albrecht Title: The Virgin Nursing the Child Painted in 1501-1550 , German - - graphics : study

42308

The Virgin Nursing the Child near the bottom,on a stone

mk168 1503 113x70mm

42246

The Virgin on a grassy bench

mk168 engraving 122x84mm

42484

The Virgin suckling the Child

mk168 24x18cm Oil on linden wood

42364

The Virgin with a Multitude of Animals

mk168 321x243mm Pen and ink on paper with watercolor

42487

THe Virgin with the Child holding half a pear

mk168 49x37cm 1512 Oil on linden wood

63564

The Virgin with the Dragonfly

1495 Engraving, 240 x 186 mm Staatliche Museen, Berlin The first of D?rer's engravings bearing a monogram and the only one with this archaic version of it. The dragonfly has been variously identified as a grasshopper, a praying mantis and a butterfly. The composition is still primitive, although the severely foreshortened head of St Joseph - asleep and old to stress the notion of Mary's virginity - is in marked contrast to earlier still extant drawings by D?rer of this subject. The sheet is a direct successor to Martin Schongauer's work.Artist:D?RER, Albrecht Title: The Virgin with the Dragonfly Painted in 1501-1550 , German - - graphics : religious

42464

The Virgin with the Sleeping clild between Sts.Anthony

mk168 191x96.5cm

63628

The Virgin with Two Angels and Four Saints

1521 Pen, 252 x 387 mm Mus?e Cond? Chantilly The four saints are St Catherine, St John the Evangelist, St James the Great and St Joseph. This drawing, which is cut at the top, is to be considered as a study for a large painting. It is an example of the new freedom of arrangement on an architectural basis.Artist:D?RER, Albrecht Title: The Virgin with Two Angels and Four Saints Painted in 1501-1550 , German - - graphics : study

42424

The Vision of the Seven Candleticks

mk168 395x284mm

42434

The Visitation

mk168 300x211mm

42233

The Willow mills on the pegnitz

mk168 watercolor and tempera on paper 251x367cm

1058

The Wire-drawing Mill

1489 Kupferstichkabinett, Berlin

42234

The Wire-Drawing Mill on the pegnita

mk168 Silverpoint on prepared paper 151x228mm

63679

The Women's Bath

1496 Pen, 231 x 226 mm Kunsthalle, Bremen Weak in its perspective and not yet quite clear in its representation of forms, this drawing nevertheless possesses significant qualities: a strong feeling for corporeality and for rich configuration. Form is suggested by light, jumping strokes of the pen, with the vagueness typical of the early period. A painterly effect is sought in the darkness of the wall and ceiling, in which the grain of the wood is disproportionately emphasized, as in the art of the primitives.Artist:D?RER, Albrecht Title: The Women's Bath Painted in 1501-1550 , German - - graphics : study

42329

Three Mighty Ladies From Livonia

mk168 1521 Pen and ink with watercolor

42275

Three Orientals

mk168 Pen and ink on paper,and watercolor 300x208mm

42310

Three Peasants in conver-sation

mk168 107x76mm

63571

Three Peasants in Conversation

1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre

42379

Trent Seen From the North

mk168 198x257mm Watercolor and body color on paper

83816

Trommler und Pfeifer

1504(1504) Medium Oil on panel Dimensions 94 x 51.2 cm (37 x 20.2 in) cyf

79826

Trommler und Pfeifer.

ca. 1504(1504) Oil on panel 94 x 51.2 cm (37 x 20.2 in) cjr

33510

Two Apostles

mk86 1526 Oil on wood 215.5x76 Munich,Bayerische Staats-gamaldesammlungen,Alte Pinakothek

33511

Two Apostles

mk86 1526 Oil on wood 214.5x76cm Munich,Bayerische Staats-gamaldesammlungen,Alte Pinakothek

52016

Two Musicians

c. 1504 Oil on panel, 94 x 51 cm

42307

Two Venetian Ladies

mk168 290x173mm

42408

Ulrich Stark

mk168 407x297mm

42415

Ulrich Varnbuhler

mk168 437x326mm

42373

Valley near Kalchreuth

mk168 106x316mm

42273

View of Heroldsberg

mk168 Pen and ink on paper 211x263mm

63732

Virgin and Child before an Archway

1495 Oil on panel, 48 x 36 cm Magnani Collection, Mamiano near Parma Mary and the Christ Child sitting in her lap appear to be right in the foreground of a space which opens to one side onto a bordering interior courtyard. The baby reaches for his mother's hand and their eyes meet. While the Madonna still owes much to the Late Gothic German type, the Christ Child is reminiscent of Italian models. Half length figures such as this early picture of the Madonna were widespread in Italy and the Netherlands. The depiction of the space with the view to the side through an arch is reminiscent of Flemish models, but the figural conception and monumental triangular composition of the group of figures also relates to Italy, in particular to the Madonna paintings by Giovanni Bellini. The picture dates either from D?rer's visit to Venice in 1494-5 or soon afterwards in Nuremberg. It was discovered in the 1950s in the Capuchin monastery of Bagnacavallo, near Ravenna, and this suggests that it was painted in Italy where it has remained.Artist:D?RER, Albrecht Title: Virgin and Child before an Archway Painted in 1501-1550 , German - - painting : religious

1053

Virgin Child before an Archway

Fondazione Magnani-Rocca, Parma

42457

Virgin with the Swaddled

mk168 1520 142x95mm

42495

Vision of a Cloudburst

mk168 300x425mm 1822

63606

Walrus

1521 Pen drawing with watercolours, 206 x 315 mm British Museum, London Throughout his life, D?rer was interested in oddities of nature. The walrus has pushed the front half of his body into the picture and is looking at the observer with his peculiarly glassy gaze; this has led to the suggestion that D?rer created the study from a chopped off walrus head or stuffed animal, and completed the rest from his imagination. The study was to be used as a detail in the altar painting of an enthroned Madonna and Child surrounded by eight saints and angels playing instruments, but this work was never produced. At the top left D?rer wrote: "Das dozig thyr van dem ich do das hawbt conterfett hab, ist gefange worden in der niderlendischen see und was XII ellen brawendisch mit f?r f?ssen" (The animal which I have drawn this picture of was captured in the Dutch Sea and was twelve cubits in size with four feet).Artist:D?RER, Albrecht Title: Walrus Painted in 1501-1550 , German - - graphics : other

63624

Willibald Pirckheimer

1524 Engraving, 181 x 115 mm Metropolitan Museum of Art, New York The celebrated humanist Willibald Pirckheimer, counselor to the Emperor, friend of Erasmus of Rotterdam, member of the Nuremberg city council, translator of Greek and Latin classics, commander of the Nuremberg contingent of troops in the Swiss War, was Albrecht D?rer's closest friend and mentor. Suffering from severe gout, Pirckheimer had retired from the city council shortly before D?rer engraved this portrait. The copper plate portrait is an example of the new portraits he created using printed graphics. The bust is placed, like a monument, above an inscription that reads like an epitaph. It refers to the contributions and character of Pirckheimer, and the inscription beneath the portrait reads: "Image of Willibald Pirckheimer at age 53. Man lives through his intellect; all else will belong to death. 1524" (based on Livy III, 36). In this likeness, too, D?rer could not resist the temptation to show the reflection of windows in the eyes. The magnificent bulldog head of D?rer's best friend is not so much embellished as transfigured. Mass is converted into energy, and the heavy features of the learned irascible giant appear illumined, as it were, by the enormous eyes which flare from their sockets like powerful searchlights. This engraving was used as a bookplate by Pirckheimer. Many volumes containing it, formerly in the possession of the Royal Society, were sold at auction in London in 1925. Until 1945 there was an impression on white satin, probably posthumous, at Bremen.Artist:D?RER, Albrecht Title: Willibald Pirckheimer Painted in 1501-1550 , German - - graphics : portrait

63655

Willibald Pirckheimer

1503 Charcoal drawing, 282 x 208 mm Staatliche Museen, Berlin In the portrait drawing of Willibald Pirckheimer, seen in profile looking to the left, D?rer was making use of a silver point drawing and "refined his friend's features without flattering him," as Panofsky stated. The famous humanist was a close friend and intimate of D?rer's. It is possible that D?rer was stimulated to produce this profile portrait by ancient imperial coins, though it is also possible that the drawing was used as a pattern by a medal maker.Artist:D?RER, Albrecht Title: Willibald Pirckheimer Painted in 1501-1550 , German - - graphics : portrait

42362

Wing of a Blue Roller

mk168 1512 197x200mm

1059

Wing of a Roller

1512 Graphische Sammlung, Albertina, Vienna

63636

Winged Man

in Idealistic Clothing, Playing a Lute 1497 Silverpoint on dark paper, with white highlights, 268 x 195 mm Staatliche Museen, Berlin The statuesque model was also available to the artist during his work on The Apocalypse. In that series the head recurs not only in the destroying angels, but also in the apocalyptic horsemen and the angels that calm the winds.Artist:D?RER, Albrecht Title: Winged Man, in Idealistic Clothing, Playing a Lute Painted in 1501-1550 , German - - graphics : study

42330

Woman in Netherlandish artist

mk168 1521 283x195mm

42395

WQild man with the Coat of arms of oswolt krel

mk168 49x16cm Oil on linden wood

42326

Young Couple

mk168 Pen and ink on paper 257x191mm

63576

Young Couple Threatened by Death

1498 Engraving, 196 x 121 mm Staatliche Kunsthalle, Karlsruhe The Engraving showing a strolling couple is one of the genre pictures which D?rer created in the tradition of the Master of the Housebook and Martin Schongauer. As the gallant gazes at his companion adoringly, he points ahead to the path. The ostrich feather he is wearing in his hat is a sign of his bachelor status. The fantastic costume worn by the woman combines elements from both Nuremberg and Venetian fashion. Behind the tree, unnoticed by the lovers, Death is holding up an hourglass. The picture can be interpreted as a moralizing metaphor for the transitoriness of love and sensuality. The figure of death does not necessarily indicate a warning to lovers, as this was not customary in the fifteenth century. Death was, however, frequently pictured as a reminder that life on earth should not be solely devoted to pleasure and luxury. The cap worn by the man is a precursor of the berets which became popular in the sixteenth century. He has also already discarded the pointed shoes of the type still worn by his companion. The tall grass-like plant in the foreground may be allegorical, related to the quotation from Isaiah in the Basle Dance of Death that "all flesh is like hay and grass; grass dries up and flowers wilt. "Artist:D?RER, Albrecht Title: Young Couple Threatened by Death; or, the Promenade Painted in 1501-1550 , German - - graphics : mythological

58703

Young Hare

Young Hare, 1502, Watercolour and bodycolour (Albertina).

42391

Young Man as St.Sebastian

mk168 52x40cm Oil on wood

42407

Young man with a cap

mk168 298x215mm

63563

Young Woman Attacked by Death

1494 Engraving, 114 x 102 mm Staatliche Kunsthalle, Karlsruhe In the middle of the picture, on a turf bench, a wild wood gnome is attacking a young woman who defends herself angrily. While the lean, bony man is reminiscent of depictions of Death, the dead tree to the left of the turf bench is a symbol of vice and fated undoing. The original intention was to include a commentary, as is shown by the empty inscription cartouche above the scene. The most obvious interpretation is that made by Panofsky, who considered the small genre picture to be an allegory of death. This engraving is today generally accepted as being by D?rer, although it is reminiscent of the Housebook master in several respects. The thistle-like plant in the background, eryngium (sea holly), occurs in several of D?rer's early works. Its reputedly aphrodisiac qualities were, according to Pliny, known already to the ancient Greeks, and apparently fascinated the young D?rer. Perhaps the print is related to a Nuremberg news item of the year 1489, when a man was hanged for a number of attacks on women.Artist:D?RER, Albrecht Title: Young Woman Attacked by Death; or, The Ravisher Painted in 1501-1550 , German - - graphics : mythological

42496

Young Woman in Prayer with Loose Hair

mk168 1497 Oil on canvas 56x43cm

42398

Young Woman with a Red Beret

mk168 1507 Oil n vellum 30.4x20cm

42397

Young Woman with Bound Hair

mk168 55x42cm Oil on canvas

42248

Youth kneeling beffore the judge

mk168 Pen and ink on paper 252x189mm

42639

Zelfportret

MK169 1500 Panel 67x49cm Alte Pinakothek, Munchen

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Albrecht Durer

b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.

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