Dürer’s Renaissance and the Prolific Printing Press

Preferring creating prints over painting, Dürer propelled the Northern Renaissance by sharing ideas from rediscovered ancients with his art.

"Paumgartner Altar," circa 1500, by Albrecht Dürer. Although Dürer is better known for his engravings, he did complete painted works. Public Domain

In Victor Hugo’s novel “The Hunchback of Notre Dame,” the archdeacon Frollo picks up a book from his desk, points out the window to the cathedral, and puts forth the proposition, “This will kill that.” He refers to the tremendous potential of the recently invented printing press to disseminate knowledge across cities and cultures with an impact that will overshadow the greatest architectural masterpieces. This untapped power of the printing press was fully embraced by Albrecht Dürer (1471–1528) who foresaw its  cultural impact on both writing and art. Revered as the father of the German Renaissance, he fully embraced the opportunities the printing press afforded to absorb and project the rediscovered genius of antiquity.

Portrait of a Prodigy

At the age of 13, Dürer’s talent was already undeniable. As a goldsmith, his father had trained the boy in the typical practice of silverpoint drawing. Using the silver stylus on pigmented paper meant the artist couldn’t erase or make corrections without marring the image. The medium required precision. By copying his reflection in a mirror, Dürer created what is still recognized as the youngest self-portrait to date. His inscription in the top right corner foreshadowed another legacy—his thorough documentation of his creative process and growth.

"Self Portrait," 1484, by Albrecht Dürer. Public Domain