Albrecht Dürer ( 1471 – 1528)[1] was a German painter, printmaker, engraver, mathematician, and theorist from Nuremberg, says Wikipedia.
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 Northern Renaissance ever since.
In Italy, he went to Venice to study its more advanced artistic world. In the Alps he made the first pure landscape studies known in Western art.[3]
Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series together with a second edition of the Apocalypse series.
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 predominately in private collections located in only a few cities.
His success in spreading his reputation across Europe through prints were undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers in order to promote and distribute their work.
His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, and have been blamed[by whom?] for some of the wilder excesses of artists' self-portraiture, especially in the nineteenth and twentieth centuries.
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