
Dürer’s iconic standard bearer hoists a flag emblazoned with diagonally crossed branches and double fire steels in the shape of the letter B, for the French region of Burgundy. These symbols suggest he is an infantry soldier fighting Italy or France for Maximilian I, the Burgundian ruler and Holy Roman emperor, later Dürer’s patron. With skintight hose, a fabric codpiece, slashed sleeves, jaunty feathers, and an antagonistically raised eyebrow, he defies any attempt to capture his flag.
Art Institute of ChicagoCC BY 4.0
1500
Jacopo de' Barbari and the secret of proportion
The Venetian Jacopo de' Barbari, whom Dürer had met in Venice, came to Nuremberg, and Dürer said he learned much from him about perspective, anatomy and proportion. Feeling that de' Barbari would not explain everything he knew, Dürer began studies of his own that became a lifelong preoccupation.
1501–1502
In the circle of Nuremberg's humanists
Through his lifelong friend Willibald Pirckheimer, Dürer entered the circle of Nuremberg's humanists. He engraved illustrations for Conrad Celtis's editions of Hrotsvitha (1501) and of his Four Books of Love (1502), and decorated 14 books in Pirckheimer's library with drawings.
1502
Death of his father
Albrecht Dürer the Elder died, and his son took on the care of his mother and his two younger brothers, Endres and Hans.
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