Albrecht Dürer, ‘MADONNA AND CHILD WITH THE MONKEY’, ca. 1498, Christopher-Clark Fine Art

Series: A good, clear later 16th century Meder “l” impression, showing strong contrasts throughout, printed after the appearance of the dot in the clouds upper center.

Signature: Signed in the plate with the artist’s monogram lower center.

Jane Campbell Hutchison, Albrecht Dürer: A Biography, Princeton University Press, New Jersey, 1990, p. 69,79; Giulia Bartrum, Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance Artist, Princeton University Press, Princeton, New Jersey, 2002, no. 194, p. 243 (ill.); Larry Silver/Jeffrey Chipps Smith, The Essential Dürer, University of Pennsylvania Press, Philadelphia, 2010, fig 3.3, p. 44 (ill.).

About Albrecht Dürer

Considered one of the foremost artists of the Renaissance period, Albrecht Dürer’s extensive work in printmaking transformed the categorization of the medium from craft to fine art. Often depicting religious subjects, Dürer’s woodcuts and engravings demonstrated unprecedented technical skill, tonal variation, and compositional sophistication. Dürer theorized extensively on linear perspective and anatomical proportion, concerns that were articulated in a vast body of written work as well as in his paintings and prints. Dürer’s skill earned him the role of court artist for Holy Roman Emperors Maximilian I and Charles V, under whom he created a number of paintings and altarpieces. Dürer’s series of self-portraits, created throughout his career, represent some of his most iconic works.

German, 1471-1528, Nuremberg, Germany, based in Nuremberg, Germany