Albrecht Dürer

Diwar Wikipedia, an holloueziadur digor

Albrecht Dürer, ganet d'an 21 a viz Mae 1471 – marvet d'ar 6 a viz Ebrel 1528) ^[1] a oa ul livour alaman, ur mouler, ur jedoniour, hag evel Rembrandt ha Goya, unan eus tri arzour ar moulerezh kozh. Ganet ha marvet eo en e gêr a Nuremberg, ha brudet eo e engravadurioù , graet alies en heuliadoù, en o zouez an Apocalypse (Diskuliadur) e 1498, an daou heuliad diwar-benn Pasion Jezuz, Ar Basion Vras (1498–1510) hag Ar Basion Vihan (1510–1511).

Brudetañ engravadur Dürer eo

• Marc'heg, Ankou, ha Diaoul (1513),
• Sant Hieronymus en e studi (1514)
• ha Melkoni I (1514), a zo bet danvez da gaoz ha da dabut.

E skeudennoù heverkañ eo e goadengravadurioù

• Pevar marc'heger an Apokalips (1497–1498) eus heuliad an Diskuliadur ,
• e "Frikornek",
• e emboltredoù niverus.

Moarvat ne veze ket troc'het e vloc'hadoù koad gant Dürer e-unan ha sur a-walc'h e veze gopret un eiler d'ober al labour ampart a-walc'h da labourat pizh hervez e dresadennoù. ^[2]

Taolenn 1 E yaouankiz 2 Bloavezh dilabour 3 Dimeziñ ha kentañ beaj da Italia 4 Distro da Nuremberg 5 Eil beaj da Italia 6 Nuremberg and the masterworks 7 Journey to the Netherlands and beyond 8 Final years in Nuremberg 9 Legacy 10 Menegoù 11 Levrioù diwar e benn 12 Roll an oberennoù 12.1 Livadurioù 12.2 Engravadurioù 12.3 Tresadennoù 12.4 Oberennoù gant gouach 12.5 Skridoù 12.6 Un dibab oberennoù 13 Liammoù diavaez

[kemmañ] E yaouankiz

Albrecht Dürer a oa ganet d'an 21 a viz Mae 1471, an trede bugel hag eil mab eus etre 14 ha 18 bugel. E dad aoa un orfebour, anvet Ajtósi, deuet eus Ajtós, e-kichen Gyula en Hungaria e 1455. Dont a ra an anv alamanek "Dürer" eus ar ger hungarek "Ajtósi". En deroù e oa "Thürer," a dalv kement haoberour-dorojoù, a zo "ajtós" en Hungarek (eus "ajtó", dor). Un nor zo war an ardamez pourchaset gant an tiegezh. Albrecht Dürer an Tad a zimezas gant Barbara Holper, eus ur familh pinvidik a-walc'h eus Nuremberg e 1467.

E baeron e oa Anton Koberger, en devoa dilezet ar vicher a varichal da vezañ mouler hag embanner a printer and publisher er bloavezh ma voe ganet Dürer vihan . Buan e teuas da vout ar brudetañ embanner en Alamagn, dezhañ peder gwask warn-ugent , ha meur a stal koulz en Alamagn hag e broioù all.

E vrudetañ embannadur a oa ar Nuremberg Chronicle, embannet e 1493 en alamaneg hag e latin . Ennañ e oa ur 1,809 skeudenn koadengravet (meur a wech ar memes re) eus stal-labour Wolgemut. Moarvat e oa graet un toullad gant Albrecht Dürer end-eeun pa oa bet kroget al labour p'edo c'hoazh e ti Wolgemut.^[3]

Mat eo e voe lezet gant Dürer notennoù diwar-benn e vuhez, hag e voe brudet ken abred , etre e 20 vloaz hag e 30 vloaz, rak abalamour da se e c'hallomp anavezout e vuhez hag e labour. Tremenet gantaén un nebeud bloavezhioù er skol e voe lakaet gant e dad da studiañ an orfebouriezh hag an tresañ

Though his father wanted him to continue his training as a goldsmith, he showed such a precocious talent in drawing that he started as an apprentice to Michael Wolgemut at the age of fifteen in 1486. A superb self-portrait, a drawing in silverpoint, is dated 1484 (Albertina, Vienna) “when I was a child”, as his later inscription says. Wolgemut was the leading artist in Nuremberg at the time, with a large workshop producing a variety of works of art, in particular woodcuts for books. Nuremberg was a prosperous city, a centre for publishing and many luxury trades. It had strong links with Italy, especially Venice, a relatively short distance across the Alps.^[3]

[kemmañ] Bloavezh dilabour

Echu ebrantas deskién e 1489, Dürer followed the common German custom of taking "wanderjahre" — in effect a gap year — however Dürer was away nearly four years, travelling through Germany, Switzerland, and probably, the Netherlands. To his great regret, he missed meeting Martin Schongauer, the leading engraver of Northern Europe, who had died shortly before Dürer's arrival. He was very hospitably treated by Schongauer's brother, and seems at this time to have acquired some works by Schongauer he is known to have owned. His first painted self-portrait (now in the Louvre) was painted in Strasbourg, probably to be sent back to his fiancé in Nuremberg.^[3]

[kemmañ] Dimeziñ ha kentañ beaj da Italia

Very soon after his return to Nuremberg, on July 7, 1494, at the age of 23, Dürer was married to Agnes Frey following an arrangement made during his absence. She was the daughter of a prominent brass worker (and amateur harpist) in the city. The nature of his relationship with his wife is unclear, but it would not seem to have been a love-match, and his portraits of her lack warmth. They had no children. Within three months Dürer left again for Italy, alone, perhaps stimulated by an outbreak of plague in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving Nemesis. These are the first pure landscape studies known in Western art.^[3]

In Italy, he went to Venice to study its more advanced artistic world.^[4] Through Wolgemut's tutelage, Dürer had learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Martin Schongauer and the Housebook Master.^[4]. He also would have had access to some Italian works in Germany, but the two visits he made to Italy had an enormous influence on him. He wrote that Giovanni Bellini was the oldest and still the best of the artists in Venice. His drawings and engravings show the influence of others, notably Antonio Pollaiuolo with his interest in the proportions of the body, Mantegna, Lorenzo di Credi and others. Dürer probably visited Padua and Mantua on this trip also.

[kemmañ] Distro da Nuremberg

On his return to Nuremberg in 1495, Dürer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Dürer lost both of his parents during the next decade. His father died in 1502 and his mother died in 1513.^[5] His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as, The Mens Bath-house (c1496). These were larger than the great majority of German woodcuts hitherto, and far more complex and balanced in composition.

It is now thought unlikely that Dürer cut any of the woodblocks; this task would have been left for a specialist craftsman. His training in Wolgemut's studio, which made many carved and painted altarpieces, and both designed and cut woodblocks for woodcut, however, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way his drawing was destroyed during the cutting of the block.

His famous series of sixteen great designs for the Apocalypse are dated 1498. He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. Around 1503–1505 he produced the first seventeen of a set illustrating the life of the Virgin, which he did not finish for some years. Neither these, nor the Great Passion, were published as sets until several years later, but prints were sold individually in considerable numbers.^[3]

During the same period Dürer trained himself in the difficult art of using the burin to make engravings. Perhaps he had begun learning this skill during his early training with his father. The first few were relatively unambitious, but by 1496 he was able to produce the masterpiece, the Prodigal Son, which Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably, Nemesis (1502), The Sea Monster (1498), and Saint Eustace (1501), with a highly detailed landscape background and beautiful animals. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Dürer famous throughout the main artistic centres of Europe within a very few years.^[3]

The Venetian artist Jacopo de' Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective, anatomy, and proportion from him. He was unwilling to explain everything he knew, so Dürer began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of, Adam and Eve (1504); showing his subtlety while using the burin in the texturing of flesh surfaces.^[3] This is the only existing engraving signed with his full name.

Dürer made large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Praying Hands (1508 Albertina, Vienna), a study for an apostle in the Heller altarpiece. He also continued to make images in watercolour and bodycolour (usually combined), including a number of exquisite still lives of meadow sections or animals, including his "Hare" (1502, Albertina, Vienna).

[kemmañ] Eil beaj da Italia

In Italy, he returned to painting, at first producing them on linen. These include portraits and altarpieces, notably, the Paumgartner altarpiece and the Adoration of the Magi. In early 1506, he returned to Venice and stayed there until the spring of 1507.^[1] By this time Dürer's engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of St. Bartholomew. The picture painted by Dürer was closer to the Italian style—the Adoration of the Virgin, also known as the Feast of Rose Garlands. It was subsequently acquired by the Emperor Rudolf II and taken to Prague. Other paintings Dürer produced in Venice include, The Virgin and Child with the Goldfinch, Christ disputing with the Doctors (supposedly produced in a mere five days), and a number of smaller works.

[kemmañ] Nuremberg and the masterworks

Despite the regard in which he was held by the Venetians, Dürer was back in Nuremberg by mid-1507. He remained in Germany until 1520. His reputation had spread throughout Europe. He was on friendly terms and in communication with most of the major artists of Europe, and exchanged drawings with Raphael.

The years between his return from Venice and his journey to the Netherlands are divided according to the type of work with which he was principally occupied. The first five years, 1507–1511, are pre-eminently the painting years of his life. He worked with a vast number of preliminary drawings and studies and produced what have been accounted his four best works in painting, Adam and Eve (1507), Virgin with the Iris (1508), the altarpiece the Assumption of the Virgin (1509), and the Adoration of the Trinity by all the Saints (1511). During this period he also completed the two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series.

He complained that painting did not make enough money to justify the time spent, when compared to his prints, and from 1511 to 1514 concentrated on printmaking, in woodcut, and especially, engraving. The major works he produced in this period were the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. In 1513 and 1514 he created his three most famous engravings, The Knight, Death, and the Devil (or simply, The Knight, as he called it, 1513), the enigmatic and much analyzed Melencolia I, and St. Jerome in his Study (both 1514).^[3]

In 'Melencolia I' appears a fourth-order magic square which is believed to be the first seen in European art. The two numbers in the middle of the bottom row give the date of the engraving, 1514.

In 1515, he created a woodcut of a Rhinoceros which had arrived in Lisbon, from a written description and brief sketch, without ever seeing the animal depicted. Despite being relatively inaccurate (the animal belonged to a now extinct Indian species), the image has such force that it remains one of his best-known, and was still being used in some German school science text-books early last century.^[3]

In the years leading to 1520 he produced a wide range of works, including portraits in tempera on linen in 1516, engravings on many subjects, a few experiments in etching on plates of iron, and parts of the Triumphal Arch and the Triumphs of Maximilian which were huge propaganda woodcut projects commissioned by Maximilian I, Holy Roman Emperor. He drew marginal decorations for some pages of an edition of the Emperor's printed prayer book. These were quite unknown until facsimiles were published in 1808 as the first book published in lithography. The decorations show a lighter, more fanciful, side to Dürer's art, as well as, his usual superb draftsmanship. He also drew a portrait of the Emperor Maximilian, shortly before his death, in 1519.

[kemmañ] Journey to the Netherlands and beyond

In the summer of 1520 Dürer made his fourth, and last, journey. He sought to renew the Imperial pension Maximilian had given him (typically, instructing the city of Nuremberg to pay it), to secure new patronage following the death of Maximilian, and to avoid an outbreak of sickness in Nuremberg. He, his wife, and her maid set out in July for the Netherlands in order to be present at the coronation of the new emperor, Charles V. He journeyed by the Rhine to Cologne, and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk, and charcoal. Besides going to Aachen for the coronation, he made excursions to Cologne, Nijmegen, 's-Hertogenbosch, Brussels, Bruges, Ghent, and Zeeland. In Brussels he saw "the things which have been sent to the king from the golden land" — the Aztec treasure that Hernán Cortés had sent home to Holy Roman Emperor Charles V following the fall of Mexico. Dürer wrote that this treasure trove "was much more beautiful to me than miracles. These things are so precious that they have been valued at 100,000 florins".^[3] Dürer appears to have been collecting for his own cabinet of curiosities, and he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins, and a wooden weapon from the East Indies.

He took a large stock of prints with him, and wrote in his diary to whom he gave, exchanged, or sold them, and for how much. This gives rare information on the monetary value placed on old master prints at this time. Unlike paintings, their sale was very rarely documented. He finally returned home in July 1521, having caught an undetermined illness which afflicted him for the rest of his life, and he greatly reduced his rate of work.^[3]

[kemmañ] Final years in Nuremberg

Back in Nuremberg, Dürer began work on a series of religious pictures. Many preliminary sketches and studies survive, but no paintings on the grand scale ever were carried out. This was due in part to his declining health, but more because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and fortification. Although having little natural gift for writing, he worked diligently to produce his works.

The 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), a Salvator Mundi (1526), and two panels showing St. John with St. Peter in front and St. Paul with St. Mark in the background. In copper-engraving, Dürer produced only a few portraits, those of the cardinal-elector of Mainz (The Great Cardinal), Frederick the Wise, elector of Saxony, and his friends the humanist scholar Willibald Pirckheimer, Philipp Melanchthon, and Erasmus of Rotterdam.

Despite complaining of his lack of formal education, especially in the classical languages, Dürer was greatly interested in intellectual matters, and learned much from his great friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendship and correspondence with Erasmus and other scholars. Dürer succeeded in finishing and producing two books during his lifetime. One on geometry and perspective, The Painter's Manual (more literally, the Instructions on Measurement) was published at Nuremberg in 1525 and it is the first book for adults to be published on mathematics in German.^[3] His work on fortification was published in 1527, and his work on human proportion was brought out in four volumes shortly after his death at the age of fifty-six, in 1528.^[1]

It is clear from his writings that Dürer was highly sympathetic to Martin Luther, and he may have been influential in the City Council declaring for Luther in 1525. However, he died before religious divisions had hardened into different churches, and may well have regarded himself as a reform-minded Catholic to the end.

He left an estate valued at 6,874 florins - a considerable sum. His large house (which he bought from the heirs of Bernard Walther in 1509), where his workshop also was, and where his widow lived until her death in 1537, remains a prominent Nuremberg landmark, and is now a museum.^[3]

[kemmañ] Legacy

Dürer exerted a huge influence on the artists of succeeding generations; especially on printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were mostly in private collections located in only a few cities. His success in spreading his reputation across Europe through prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, who entered into collaborations with printmakers to distribute their work beyond their local region.

His work in engraving seems to have had an intimidating effect upon his German successors, the Little Masters, who attempted a few large engravings, but continued Dürer's themes in tiny, rather cramped, compositions. The early Lucas van Leiden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola and Christofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn, traveled over the Alps to dominate Northern engraving also.

In painting, Dürer had relatively little influence in Italy, where probably, only his altarpiece in Venice was to be seen, and his German successors were less effective in blending German and Italian styles.

His intense and self-dramatising self-portraits have continued to have a strong influence up to the present, and may be blamed for some of the wilder excesses of artist's self-portraiture, especially in the nineteenth and twentieth centuries.

He has never fallen from critical favour, and there have been revivals of interest in his works Germany in the Dürer Renaissance of c.1570–1630, in the early nineteenth century, and in German Nationalism from 1870–1945.^[3]

He is commemorated on the calendar of the Lutheran Church with other artists on April 6.

[kemmañ] Menegoù

[kemmañ] Levrioù diwar e benn

• Giulia Bartrum (2002), Albrecht Dürer and his Legacy, British Museum Press. ISBN 0714126330
• Walter L. Strauss (Editor) (1973), The Complete Engravings, Etchings and Drypoints of Albrecht Durer, Dover Publications. ISBN 0486228517 &mdash.
• Wilhelm Kurth (Editor) (2000), The Complete Woodcuts of Albrecht Durer, Dover Publications. ISBN 0486210979 &mdash.

[kemmañ] Roll an oberennoù

• Oberennoù Albrecht Dürer e Mirdi an Ofisoù e Firenze

[kemmañ] Livadurioù

• Albrecht Dürer an henañ, 1490, Mirdi an Ofisoù, Firenze
• Barbara Dürer, ganet Holper, c. 1490-1493, Germanisches Nationalmuseum, Nuremberg
• Emboltred d'an oad a 22 vloaz pe Emboltred an askolenn, 1493, Mirdi al Louvre
• Frederig ar fur, 1496, Staatliche Museen , Berlin
• Tad an arzour, 1497, National Gallery, Londrez
• Emboltred d'an oad a 26 vloaz, 1498, Musée du Prado, Madrid
• Oswald Krell, 1499, Alte Pinakothek, Munich
• Elsbeth Tucher, 1499, Staatliche Kunstsammlungen, Kassel
• An diskenn diwar ar Groaz, c. 1500-1503, Alte Pinakothek, Munich
• Emboltred d'an oad a 28 vloaz pe Emboltred gant ar foulinenn, 1500, Alte Pinakothek, Munich (gant an enskrivadur da-heul : "Albertus Durerus Noricus ipsum me propriis sic effingebam coloribus œtatis anno XXVIII")
• Herkules o lazhañ evned al lenn Stimfalos, 1500, Germanisches Nationalmuseum, Nuremberg
• Aoter an tiegezh Baumgärtner, 1503, Alte Pinakothek, Munich
• Azeuladur an tri roue, 1504, Mirdi an Ofisoù, Firenze
• Poltred ur vaouez yaouank eus Venezia, 1505, Kunsthistorisches Museum, Vienne
• Burkard von Speyer, 1506, Windsor Castle
• Ar C'hrist e-touez an doktored, 1506, Fundacion Coleccion Thyssen-Bornemisza, Madrid
• Poltred ur vaouez yaouank eus Venezia, c. 1506, Staatliche Museen zu Berlin
• Gwerc'hez gouel ar rozera, Narodni Galerie de Prague, 1506.
• Aza hag Eva, 1507, Galerie des Offices, Florence
• Poltred ur gwaz, 1512-1514, Szepmuveseti Muzeum, Budapest
• An impalaer Karl-Veur hag An impalaer Sigismond, 1513, Germanisches Nationalmuseum, Nuremberg
• Michael Wolgemut, 1516, Germanisches Nationalmuseum, Nuremberg
• An abostol Fulub, 1516, Galerie des Offices, Florence (porte cette inscription: "SANCTE PHILIPPE ORATE PRO NOBIS 1516")
• Santez Anna hag ar Werc'hez gant he bugel, 1519, Metropolitan Museum of Art, New York
• An impalaer Maksimilian Iañ, 1519, Kunsthistorisches Museum, Vienne
• Bernard von Reesen, 1521, Dresden Gallery, Dresden
• Poltred ur gwaz, 1524, Musée du Prado, Madrid
• Hieronymus Holzschuher, 1526, Staatliche Museen zu Berlin
• Jakob Muffel, 1526, Staatliche Museen zu Berlin
• Johannes Kleberger, 1526, Kunsthistorisches Museum, Vienne
• Sant Yann abostol ha Sant Pêr ha Sant Paol ha Sant Marc'h, 1528, Alte Pinakothek, Munich (Anavet ivez evel Ar pevar abostol pe Ar pevar zemz-spered)

[kemmañ] Engravadurioù

• Ar familh santel gant gant tri lapin, c. 1497
• Sant Yann dirak ar Werc'hez, c. 1511
• Merzherinti Sant Yann abostol, c. 1497-1498
• La vision des sept chandeliers, c. 1497-1498
• Sant Yann galvet en neñv, c. 1497-1498
• Ar pevar marc'heger, c. 1497-1498
• La chute des étoiles, c. 1497-1498
• Ar pevar ael dalc'her an avelioù hag oleviadur ar re ziuzet, c. 1497-1498
• Seizh trompilhadenn an aeled, c. 1497-1498
• Pevar ael an Eufratez, c. 1497-1498
• Sant Yann o plaouiañ al levr, c. 1497-1498
• Ar vaouez he dilhad heol hag an aerouant e seizh penn, c. 1497-1498
• Emgann sant Vikael a-enep an aerouant, c. 1497-1498
• An aerouant e seizh penn hag al loen e gerniel oan, c. 1497-1498
• Azeulerezh an oan - Kanenn ar re ziuzet, c. 1497-1498
• Serc'h vras Babilon, c. 1497-1498
• Koublad yaouank hag ar Marv ou La promenade, c. 1497-1498
• Euzhvil ar mor pe Skrapadenn Amimone, c. 1498
• Nemesis pe Ar binvidigezh vras, c. 1501
• Sant Eustach, c. 1501
• Diskar an Den pe Aza hag Eva, 1504
• Ar c'hinivelezh, 1504
• Azeuladur an tri roue, 1511
• Gouel an Dremm Santel douget gant daou ael, 1513
• Ar marc'heg, an Ankou hag an Diaoul, 1513
• Melancholia I, 1514
• Sant Yerom, 1514 (Musée Condé Chantilly)
• Frikorneg, 1515
• Ar peizant hag e wreg, 1519
• Kardinal Albrecht Brandebourg, 1523
• Willibald Pirckheimer, 1524
• Frédéric ar fur, priñs-dilenner Saks, 1524
• Erasm Rotterdam, 1526 (Gant an enskrivadenn : "Imago Erasmi Roterodami ab Alberto Durero ad vivam effigiem deliniata" et "ΤΗΝ ΚΡΕΙΤΤΩ ΤΑ ΣΥΓΓΡΑΜ ΜΑΤΑ ΔΙΞΕΙ" a c'hall bezañ troet gant "Reiñ a ra e skridoù ur skeudenn eus an den zo gwelloc' evit ar poltred-mañ")

[kemmañ] Tresadennoù

• Emboltred d'an oad a 14 vloaz, 1484, Albertina museum, Vienne (gant an enskrivadenn-mañ diwar e zorn: "Graet am eus ar poltred-mañ diwarnon ma-unan, o sellet ouzhin en ur melezour, ar bloavezh 1484, pa oan ur bugel c'hoazh.")
• Ar Basion C'hlas, 1504, Albertina museum, Vienne (Heuliad daouzek tresadenn, anvet evel se abalamour da liv ar paper)

[kemmañ] Oberennoù gant gouach

• Gad yaouank, 1502, Albertina museum, Vienne
• Aile de rollier, 1512, Albertina museum, Vienne

[kemmañ] Skridoù

• Unterweisung der Messung mit dem Zirkel und Richtscheit, 1525, (Instruction pour la mesure à la règle et au compas)
• Arcibus castellisque condendis ac muniendis rationes aliquot, 1527, (traité sur les fortifications)
• Diwar-benn kenfeurioù korf Mab-Den, 1528, (Embannet goude e varv)

[kemmañ] Un dibab oberennoù

Patrom:Message galerie

Emboltred	Poltred Barbara Dürer (1490-1493)	Poltred den dirak ur speurenn c'hlas (1497)	Poltred Oswolt Krel (1499)	Poltred Friedrich des Weisen' (1500)
Poltred Jacob Muffel (1526)	Aza et Eva	Gad yaouank (1502)	Ar bedenn (1508)
		Skeudennadur Lestr ar folled	Ar marc'heg, an Ankou hag an Diaoul (1513)

[kemmañ] Liammoù diavaez

• A selection of Albrecht Dürer's paintings
• Links to online museum images of all of Dürer's prints — see section B (nb: Not all Public Domain)
• Albrecht Durer in the "History of Art"
• http://www.ibiblio.org/wm/paint/auth/durer/
• Alternative Albrecht Durer
• Works by Albrecht Dürer at Museumsportal Schleswig-Holstein
• Albrecht Dürer: Vier Bücher von menschlicher Proportion (Nuremberg, 1528). Selected pages scanned from the original work. Historical Anatomies on the Web. US National Library of Medicine.
• Oberennoù gant Albrecht Dürer e Project Gutenberg
• De Symmetria... and Underweysung der Messung 1538, from Rare Book Room.
• Patrom:MacTutor Biography

Patrom:Persondata