画家、版画家、雕塑家及艺术理论家。
生于纽伦堡的金匠家庭，其父老阿尔布莱希特＊丢勒原为匈牙利宫廷金匠，后移居
纽伦堡。童年时代，丢勒随其父学习手艺，15岁后开始了其游学生活，先后游历于
阿尔萨斯、巴泽尔及斯特拉斯堡。他最重要的游学经历为两次意大利的旅行，其间
丢勒结识了画家贝里尼和拉斐尔，同时研究了达＊芬奇的作品和艺术理论，接触并
学习了文艺复兴的思想及风格。
丢勒一生创作了大量木刻画、铜版画、油画和人物素描。其代表作有油画《四使徒》、
木版画《启示录》、铜版画《苦闷》、《骑士、死神、魔鬼》等。着有《人体比例
研究》。
丢勒早在自己十三岁时（1484）就给自己画了一幅自画像，比达＊芬奇创作的那幅
有名的自画像（ca. 1510-1515）还要早二十多年。在其一生之中，共创作了近十
幅自画像，包括速写、素描、版画和油画等创作手法，其创作的自画像大多具有严整
细致的特征，艺术表现力与后来的伦勃朗遥相呼应。
因此，丢勒被誉为“自画像之父”。
Self portrait 28, Self-Portrait in Fur Coat.我的一本影响世界的画的书中说：
In the Middle Ages a painter was "just" an artisan. He enjoyed the same
status as stone-masons and woodcarvers, not to mention bakers, tanners,
basket weavers and cobblers. Painters were used to "disppearing" behind
what they painted. They usually did not even sign their work and most
were soon forgotten.
Then a man appeared who possessed of supreme self-confidence: Albreicht
Dürer, a superb painter, a draughtsman and a woodcarver, a universal genius
of the Renaissance on a par with Leonardo da vinci. An inventive and bold
thinker,,, ,
For just as the ancients gave their idol Apollo the most beautiful of human
forms, so do we desire to use the proportions for Christ the Lord, who is the
most beautiful thing in the world. - Treatise on Human Proportions, 1528
上回贴过一幅他的全息植物画，我再附一下，顺便聊一下他的植物画。
Dürer take a worm's eye view, showing his plants almost life-size. It's a late
spring scene, whith smooth meadow grass, speedwell, dandelion, hound's
tougue, cocksfoot, daisy, greater plantain, creeping bent, yarrow, springing
fresh from the ground.
The candour of this watercolour, its precision and its beauty became the
gauge by which all other 'Dürer' paintings were measured.
丢勒是一个艺术理论家，他的理论倡导自然，与达＊芬奇不谋而合：They shared an
absolute reliance on the evidence of own eyes. 'Life in nature manifests the
truth,' he wrote in his treatise on proportion. 'Therefore observe it diligently,
go by it and do not depart from nature arbitrarily, mimaging to find the better
by thyself, for thou wouldst be misled. For verily, art is embedded in nature;
he who can extract it has it.'
Leonardo had proclaimed the same message in his Treatise on Painting: if
a painter 'will apply himself to learn from the objects of nature he will produce
good results...he who has access to the fountain does not go to the water
-pot.'
Truth to nature has become the yardstick by which a work of art is judged
and the famous piece of turf that Dürer painted in 1503.
Paeony, Dürer, Bremen
Margagon lily, Dürer, Bremen
Anchusa, on paper at Bremen
Columbine, Dürer, Albertina
Violets, Vienna
Buttercup, Dürer
tuft of cowslips, Dürer
Eight Studies of Wild Flowers by Albrecht Dürer
再引一幅他顶著名的动物犀年版画:
Dürer's Rhinoceros, woodcut, 1515.
http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer