Albrecht Dürer (1471 - 1528) was a German artist from Nuremberg. He is generally regarded as the greatest painter of the Northern Renaissance (in Europe, outside of Italy). His talents included the use of paints, woodcuts, engraving, and watercolors. He introduced classical themes in his works and applied many theories of mathematics, perspective, and ideal proportions. He influenced a great number of painters in succeeding generations. Our collection of Albrecht Dürer patterns includes several self portraits and many examples of his styles including Saint Jerome in His Study, Knight, Death, and the Devil, Melencolia, Young Hare, Adam and Eve, Praying Hands, Great Piece of Turf, and many portraits including Oswolt Krel, Hieronymus Holzschuher, Barbara Dürer, Bernhard von Reesen, Emperor Sigismund, and Elsbeth Tucher.

Patterns Included In This Set:


Self Portrait

Self Portrait

Young Hare


Lamentation for Christ

Portrait of Oswolt Krel

The Praying Hands


Great Piece of Turf

Saint Jerome in His Study

Knight, Death, and the Devil




Madonna with the Pear


Portrait of Hieronymus Holzschuher

Jesus Among the Scribes

Portrait of Michael Wolgemut


The Painter's Father


Madonna with the Siskin


The Citadel of Arco in the South Tyrol


Wing of a Blue Roller


Four Apostles

Willow Mill

Martyrdom of the Ten Thousand


The Flight into Egypt

The Young Woman

Apostle Philip


Virgin and Child with St. Anne

Portrait of Barbara Drer

Portrait of Bernhard von Reesen


Two Muscians

Portrait of a Young Furleger with Loose Hair

Emperor Sigismund


Portrait of Elsbeth Tucher

Paumgartner Altar (right wing)

Paumgartner Altar (left wing)

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Albrecht Drer (born May 21, 1471, died April 6, 1528) was a German painter and printmaker. He is now considered to be the greatest artist of the Northern Renaissance and one of the most gifted talents of his day. He enormously influenced his contemporaries and produced a number of theoretical writings on perspective and mathematics.

Drer was born in Nuremberg, Germany, the third child in a family of eighteen children. His father was a Hungarian goldsmith, Albrecht Drer the Elder, who had settled in Nuremberg around 1455.

Albrecht began working in his father's workshop when he was very young and he received his earliest training in engraving and drawing from his father. Recognizing his son's precocious talent, Albrecht the Elder apprenticed the boy, then aged 15, to local printmaker Michael Wolgemut. At the time, southern Germany was a publishing and printmaking center and, under Wolgemut, the young Drer learned the basics of woodcut printing and engraving copper plates.

In 1490 Drer completed his apprenticeship with Wolgemuth and went on an extended journey abroad to consolidate his skills. His travels took him to Colmar, where he intended to study under German engraver Martin Schongauer, but upon his arrival he learned that Schongauer had died a year earlier. However, Schongauers brothers received Drer kindly and in 1492 sent him to Basel to find work. Albrecht returned to Nuremberg in early 1494, after a brief visit to the Netherlands and Frankfurt.

Soon after his return home, Albrecht, then aged 23, was married to Agnes Frey, daughter of a prosperous silversmith. In fact, the two fathers had arranged the marriage during Albrechts travels abroad. But a few months after his marriage, Drer was traveling again, this time to Italy. He visited Venice where he studied the Italian masters and produced some splendid watercolor sketches of his travels across the Alps.

Italy and the Renaissance had an enormous influence on Durer, particularly the Renaissance ideology of the artist as scholar and aristocrat, as can be seen in his self-portrait of 1498.

Drer returned to Nuremberg, and his wife, in late spring 1495 and he stayed there for the next ten years. He started his own workshop and concentrated on printmaking. His style firmly reflected influences of the Renaissance and a growing interest in perspective and proportion. His most notable works during this period included the woodcut series of the Apocalypse, produced in 1498 and other print series that firmly established his reputation as an artist.

In 1505 Drer made a second trip to Italy, to Venice and Bologna where he stayed for two years. This time, his reputation went before him. He was acclaimed and honored wherever he went. In Venice, he studied with Giovanni Bellini, whom he greatly admired and he started producing tempera paintings and altarpieces. By this time, Drer's prints and engravings were so popular that they were being copied and distributed across Europe. The emigrant German community in Venice gave him a lucrative commission to decorate the church of San Bartolomeo.

Albrecht Drer returned to Nuremberg in 1507 and remained there until 1520. He was very productive and very successful during this period. He bought a big house and was communicating with Bellini, Raphael and other illustrious Renaissance masters. In the period 1507-1511 Drer produced mainly paintings and one of his acclaimed masterpieces, Adam and Eve, painted in 1507. The years 1511-1514 saw Drer concentrating on his printmaking and it is during those years that he produced his three most famous copper engravings: The Knight, Death and the Devil in 1513, and Melancolia and St Jerome in his Study, both in 1514.

In the latter part of the Nuremberg period Drer's main patron was the Emperor Maximilian I. Following Maximilian's death in 1519, Drer traveled to the Netherlands to secure the patronage of his successor, Emperor Charles V. In the summer of 1520 Drer and his wife set out for Aachen, where the coronation would take place, traveling through the Rhine and Antwerp. Durer financed the trip by selling prints along the way and he also produced many drawings in silverpoint and charcoal. He returned to Nuremberg in July 1521, the patronage secured.

Towards the end of his life, Drer worked on a series of religious themes, but in his last years he produced fewer and fewer artworks, concentrating more on theoretical treatises on geometry and perspective.

Durer passed away in 1528 at the age of 56. He was buried in the church of Johanniskirchhof in Nuremberg.

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