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Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century
Dürer, Albrecht. (1471–1528) [Style of]. Male Nude, original drawing ca. 16th century.

Pencil and ink sketch of a reclining, torqued male figure, after the German Renaissance artist Albrecht Dürer (1471-1528). "Durer 1505" written in pencil to the lower right corner in an unknown hand. Unexamined out of frame; overall in fine condition, with two small punctures to the lower right, and repair to an apparent tear in the same area. Sight 9.5 x 5.5 inches (24 x 14 cm.); matted and framed to an overall size of 13.25 x 9.25 inches (33.6 x 23.5 cm.).

Dürer was the first Northern Renaissance artist to master and advance the classically based articulation of the human form according to rational notions of proportion and anatomy, and his efforts culminated in his famous engraving, Adam and Eve, 1504.  However, Dürer's frank manner of depicting nude male figure, not just someone but himself, was unprecedented and shocking up to the twentieth century when similar experiments were made by Lucian Freud (1922−2011).

Dürer is also noted as one the most copied Renaissance artists. When his prints appeared for the first time in Italy, they caused a sensation. According to Vasari's 'Life of Marcantonio and Other Engravers of Prints' (1568) - a supplement to the second edition of his 1550 'Lives of the Artists' - the young Marcantonio Raimondi saw Dürer's woodcuts in the Piazza of San Marco and began to counterfeit them, selling with the monogram of Albert Dürer (AD). Vasari's account claims that Dürer came in person to Venice and laid complaint against Raimondi for plagiarising his prints. Vasari's story is not true in all its details but, since Marcantonio Raimondi omitted the famous monogram from his later copies of Dürer prints after about 1510 (replacing it with an empty tablet), it is plausible that this law-suit did take place.  Vasari himself suggested that Michelangelo's pictures were the ultimate model to be imitated: 'Indeed, painters no longer need to seek new inventions, novel attitudes clothed figures, fresh ways of invention or sublime subjects, for this work contains every perfection possible under those headings. You artists should strive to imitate Michelageno in everything you do.' 
(British Library: 137.d.14-16, Part Three, Vol 1, pp. 294-299, copyrighthistory.com)

Dürer, Albrecht. (1471–1528) [Style of] Male Nude, original drawing ca. 16th century

Schubertiade Music and Arts
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Dürer, Albrecht. (1471–1528) [Style of]. Male Nude, original drawing ca. 16th century.

Pencil and ink sketch of a reclining, torqued male figure, after the German Renaissance artist Albrecht Dürer (1471-1528). "Durer 1505" written in pencil to the lower right corner in an unknown hand. Unexamined out of frame; overall in fine condition, with two small punctures to the lower right, and repair to an apparent tear in the same area. Sight 9.5 x 5.5 inches (24 x 14 cm.); matted and framed to an overall size of 13.25 x 9.25 inches (33.6 x 23.5 cm.).

Dürer was the first Northern Renaissance artist to master and advance the classically based articulation of the human form according to rational notions of proportion and anatomy, and his efforts culminated in his famous engraving, Adam and Eve, 1504.  However, Dürer's frank manner of depicting nude male figure, not just someone but himself, was unprecedented and shocking up to the twentieth century when similar experiments were made by Lucian Freud (1922−2011).

Dürer is also noted as one the most copied Renaissance artists. When his prints appeared for the first time in Italy, they caused a sensation. According to Vasari's 'Life of Marcantonio and Other Engravers of Prints' (1568) - a supplement to the second edition of his 1550 'Lives of the Artists' - the young Marcantonio Raimondi saw Dürer's woodcuts in the Piazza of San Marco and began to counterfeit them, selling with the monogram of Albert Dürer (AD). Vasari's account claims that Dürer came in person to Venice and laid complaint against Raimondi for plagiarising his prints. Vasari's story is not true in all its details but, since Marcantonio Raimondi omitted the famous monogram from his later copies of Dürer prints after about 1510 (replacing it with an empty tablet), it is plausible that this law-suit did take place.  Vasari himself suggested that Michelangelo's pictures were the ultimate model to be imitated: 'Indeed, painters no longer need to seek new inventions, novel attitudes clothed figures, fresh ways of invention or sublime subjects, for this work contains every perfection possible under those headings. You artists should strive to imitate Michelageno in everything you do.' 
(British Library: 137.d.14-16, Part Three, Vol 1, pp. 294-299, copyrighthistory.com)

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