Born on May 21, 1471 in the city of Nuremberg (one of the strongest artistic and commercial centers in Europe in the 15th and 16th centuries), Albrecht Dürer was an extremely gifted, versatile man, artist Influential and artistically talented German of the Renaissance period. Furthermore, Dürer was a gifted and skilled painter, draftsman, writer, etcher, engraver, theorist and mathematician from the city of Nuremberg. Furthermore, Albrecht Dürer worked as an apprentice to his father, who was a goldsmith at the time, and to the local painter Michael Wolgemut, whose workshop produced numerous woodcut illustrations for books and publications. As an admirer of his compatriot Martin Schongauer, Albrecht Dürer completely changed the technique of printing and artistically raised it to the level of an independent art form. As a result, Dürer also expanded his tonal and dramatic range and provided the images with a new and previously unseen conceptual foundation. By the age of thirty, Albrecht Dürer had already completed or begun three of his most famous and influential woodcut series. on religious subjects such as: The Apocalypse (1498), the great woodcut Passion cycle (c. 1497–1500) and the Life of the Virgin (begun in 1500). Furthermore, Dürer also continued to produce independent prints, such as the engraving Adam and Eve (1504), and small and non-large, self-contained groups of images, such as the Master Engravings presenting and showing the Knight, Death, and the Devil ( 1513), San Girolamo nella studio (1514) and Melancholia I (1514), intended more for connoisseurs and collectors than for the popular devotion of the time. Subsequently, the technical mastery, intellectual breadth and psychology of Dürer's works...... middle of paper ...... here one could probably only see Dürer's altarpiece in Venice, and his German successors were less effective in merging German styles with Italian styles. Thus, Albrecht Dürer's highly intense and self-dramatized self-portraits have continued to have a strong influence to the present day, especially on 19th- and 20th-century painters who desired a more dramatic portrait style. Furthermore, Albrecht Dürer never lost critical favor, and there were numerous significant revivals of interest in his works in Germany in Dürer's Renaissance from about 1570 to 1630, the early 19th century, and in German nationalism from 1870 to 1945. Additionally, Albrecht Dürer's study of human proportions and the use of transformations in a coordinate grid to demonstrate facial aesthetic variation inspired a similar work by D'Arcy Thompson in his book On Growth and Form..