Recognized as one of the leading artists of the Renaissance period, Albrecht Dürer’s comprehensive work can be described as a breaking point through which printmaking transformed the categorization of the entire medium from craft to fine art. Often depicting highly religious subjects and topics, Dürer’s woodcuts and engravings presented the 16th-century viewer with unparalleled technical skill, unmatched tonal variation and compositional sophistication only a chosen few in art history were able to achieve. As an addition to his visual arts, Albrecht theorized and wrote extensively on the concepts of linear perspective and anatomical proportion, massively contributing to the advancement of fine painting during the time of the Renaissance and all later movements. Thanks to his intellectual ability and technical skill, Dürer held the position of a court artist for Holy Roman Emperors Maximilian I and Charles V. It was through this role that Albrecht painted some of his most iconic pieces, including many of the famous self-portraits which are respected as his trademark artworks.

Growing up in Nuremberg
Albrecht Dürer was born on May 21st, during the year of 1471, in Nuremberg, a city in northern Bavaria distinguishable by the phenomenal medieval architecture such as the fortifications and stone towers of its Altstadt (Old Town). Dürer’s family originally hailed from Hungary, Germanizing the primary family name of Thürer when they settled in the town of Nuremberg. This occurred somewhere after the middle of the 15th century. Dürer’s father, who was also called Albrecht, was a goldsmith by trade and served as an assistant to Hieronymus Helfer for most of his life. He had a total of eighteen children, of whom Albrecht was the second child. When young Dürer was at the age of fifteen, he was apprenticed to the principal painter of the town, Michael Wolgemut. Although Wolgemut was rather undistinguished by his contemporaries, his small artworks made in a late Gothic style were a great influence on his young apprentice[1]. Whilst he had Michael as his tutor, Albrecht learned not only how prolific painting is done but also how to get the best results from wood carving and elementary copper engraving. When his apprenticeship came to an end in 1490, Dürer started to travel around Europe. During the year of 1492, he arrived in Colmar with intentions to study under Martin Schöngauer, a well-regarded painter and engraver. Unfortunately, upon his arrival, Albrecht found out that Schöngauer had died the previous year. Luckily, the young artist was received kindly by the family of the deceased master who took him with them to Basel. Learning under the ex-apprentices and family members of Martin, Dürer evidently had some practice both in metal-engraving and in furnishing designs. The time Albrecht spent with various artists of this area will prove to be the pivotal moment of his career. He left Basel sometime during the year of 1494 and traveled briefly in the Low Countries before he returned to his hometown of Nuremberg, making a full circle. From this period on, little of the work suspected to be made by his hand can actually be attributed to him with full certainty.

Albrecht Durer in Venice
On the ninth of July in the year of 1494, Dürer was married to Agnes Frey, the daughter of a local merchant. This marriage is still shadowed in mystery to this day as not too many evidence concerning it exists, whilst there are a lot of speculations that the two did not get along too well. Sometime during the autumn of 1494, Albrecht traveled to Italy, leaving his wife at Nuremberg. He arrived in Venice and spent a few months meeting new colleagues and practicing his skill by following Italian concepts of producing artworks. In 1495, Dürer returned to Nuremberg where he lived and worked for the next ten years of his life. These years are the time most art historians agree was the period when Dürer produced his most notable discovered prints. During the first few years since his return to Nuremberg, Albrecht worked in the established Germanic and northern art forms, but the influences from Venice were more than obvious[2]. His best works in this period were woodblock pieces with which he depicted scenes of popular religious concepts. His famous series of sixteen great designs for the Apocalypse were first carved during the year of 1498. About seven years later, Dürer carved the first seventeen of a set illustrating the life of the Virgin. However, it should be noted that none of these pieces were promulgated till several years later as Albrecht preferred to work in privacy, isolated from the world as much as possible.
Combining the influences of the Italian Renaissance with the principles of his own nation’s art, Albrecht was able to produce pieces with such fine detail that they are still unmatched to this day

An Elite Artist
At the turn of the 16th century, Dürer’s engravings had attained great popularity and had even begun to be copied. This effectively reflected very well on the artist’s pocket. Around the year of 1505, Dürer made a second visit to Italy. Here he started to develop his painting skill and produced a fantastic series of works by tempera-painting on linen. These pieces were mostly depictions of portraits and altarpieces – most notably the Paumgartner altarpiece and the Adoration of the Magi. Attracted to the memory of this fabulous city, Albrecht returned yet again to Venice. He stayed there until the spring of 1507 and this period of his career was well documented by the legendary Vasari[3]. In Venice, he was handed an estimable commission from the emigrant German community for the local church of St. Bartholomew. Although he was a German himself and the clients shared his nationality, Dürer painted the piece in a strong Italian style. The emigrant community was pleased regardless of the style and this huge mural was subsequently acquired by the Emperor Rudolf II and taken to Prague. Despite the high regard in which he was held by the Venetians, Dürer decided to go back to Nuremberg by mid-1507. He remained in Germany until the year of 1520. Meanwhile, his reputation spread all over Europe. In that time, Albrecht was on terms of friendship with all the masters of the age – even the legendary Raphael himself was honored when an opportunity to exchange the drawings with Dürer came his way. The years between Albrecht’s return from Venice and his famed trip to the Netherlands are commonly divided according to the type of work with which he was occupied. The first five years of this period (1507-1511) are commonly considered to be the painting years of his life during which Dürer worked with a vast number of preliminary drawings and studies. It was then that he produced what’s been accounted as his four best works in painting – Adam and Eve (1507), Virgin with the Iris (1508), the altarpiece the Assumption of the Virgin (1509), and the Adoration of the Trinity by all the Saints (1511).

Later Years of his Life
From 1511 to 1514, which is a time considered to be the second period before he went to the Netherlands, Dürer mostly concentrated on engraving, both on wood and copper kind. The major works he conceived in this period were the thirty-seven subjects of the Little Passion on wood. In the remaining years to 1520 he produced a wide range of works, experimenting and exploring the potentials of his various fields. Tempera on linen, engravings on many subjects, etching on plates of iron and zinc are only a few methods Albrecht utilized. Following the death of emperor Maximilian in 1520, Dürer wanted to secure new patronage. His decision to leave Nuremberg was also backed by the fact an outbreak of sickness occurred in the city. Together with his wife, the artist set his sails for the Netherlands in order to be present at the coronation of the new Emperor Charles V. Besides going to Aachen for the said coronation, he also made excursions to Cologne, Nijmegen, ‘s-Hertogenbosch, Brussels, Bruges, Ghent and to Zealand, making pieces of art along the way. He finally returned home to Nuremberg in July 1521, after he had caught an undetermined sickness which afflicted him for the rest of his life[4]. It was in these last stages of his life that Dürer’s works became extremely religious, even more so than before. However, he did cease to make grand scale paintings which made him famous in the first place. This was due in part to his declining health which severely limited his physical ability, but also because he started to dedicate much more of his time to the preparation of his theoretical works on geometry, perspective, proportion and fortification. Not much of his books were published in his time, unfortunately – the largest publication was brought out shortly after Albrecht’s death in 1528.
Although his late career was marked by health issues which limited him severely, Dürer continued his life’s work by writing extensive theories about art

Albrecht Dürer’s Iconic Status
Although he managed to make a massive impact on his contemporary colleagues, Albrecht Dürer’s true fame and stardom came to be during the 18th and 19th century. During this time, writers such as Johann Wolfgang von Goethe simulated a reappraisal of Dürer’s work, arguing his importance to the general art history. The famous Brotherhood of St Luke, better known as the Nazarenes, was formed and its members aspired to the work of Albrecht, copying both his visuals and his techniques. In the 19th century, Romantic artists made works inspired by Dürer who by this stage, with the rise of German nationalism, had achieved an almost iconic status. And he has been regarded as one of Europe’s most important artists ever since. Nowadays, Albrecht Dürer is considered to be one of the most pivotal artists of the Rennacanse period, as well as arguably the most crucial author of pieces the Germany has ever seen. His contributions to the art techniques and theories are rivaled only by a chosen few, whilst the treatment Dürer’s work received during the last few centuries cemented his legacy for generations to come.
References:
- Kurth, W., The Complete Woodcuts of Albrecht Dürer, Dover Publications, 1963
- Wolfflin, H., Drawings of Albrecht Dürer, Dover Publications, 1970
- Panofsky, E., The Life and Art of Albrecht Durer, Princeton University Press, 1971
- Sander, J., Albrecht Durer: His Art in Context, Prestel, 2013
Featured image: Albrecht Dürer – Self Portrait (detail), 1498 – Image via grecosghosts.com
All images used for illustrative purposes only.
Year | Exhibition Title | Gallery/Museum | Solo/Group |
---|---|---|---|
2016 | The Dark Side of the Moon. Das Abgründige in der Kunst von Albrecht Dürer bis Martin Disler | Kunstmuseum St.Gallen, St. Gallen | Group |
2016 | Sous Réserves | Musée des beaux-arts de La Chaux-de-Fonds, La Chaux-de-Fonds | Group |
2016 | Dürer & Rembrandt: Master Prints from the Collection of Dr. Dorrance Kelly | The Hyde Collection, Glens Falls, NY | Group |
2016 | Alfred Kubin Und Seine Sammlung | Kunstforum Ostdeutsche Galerie (KOG), Regensburg | Group |
2016 | Unfinished: Thoughts Left Visible | Met Breuer, New York City, NY | Group |
2016 | Dead Among The Dead | Ellis King, Dublin | Group |
2016 | Agir, contempler | Musée d'Unterlinden, Colmar | Group |
2015 | Double Vision: Albrecht Dürer & William Kentridge | Kupferstichkabinett, Berlin | Group |
2015 | Impressions. Five Centuries of Woodcuts | The National Gallery Oslo, Oslo | Group |
2015 | An Eye for Excellence: Twenty Years of Collecting | The Clark Art Institute, Williamstown, MA | Group |
2015 | Alfred Kubin Und Seine Sammlung | Landesgalerie am Oberösterreichischen Landesmuseum, Linz | Group |
2015 | Dürer and Rembrandt: The Veneration of the Christ | Mattatuck Museum, Waterbury, CT | Group |
2015 | Paradies et Utopies | Musée du papier peint, Mezieres | Group |
2015 | Simple Forms: Contemplating Beauty | Mori Art Museum, Tokyo | Group |
2015 | Divine Desire: Printmaking, Mythology, and the Birth of the Baroque | San Diego Museum of Art, San Diego, CA | Group |
2015 | Paper is part of the picture. Europäische Künstlerpapiere von Albrecht Dürer bis Gerhard Richter | Leopold Hoesch Museum, Düren | Group |
2015 | Strom života | Galéria Umelcov Spisa, Spišská Nová Ves | Group |
2014 | Durero. Grabados 1496 - 1522 | Museo de Arte del Banco de la República, Bogota | Solo |
2014 | LOOKING DOWN FROM ABOVE: THE BIRD’S EYE VIEW | Germanisches Nationalmuseum, Nuremberg | Group |
2014 | Realms Of Imagination | Städel Museum, Frankfurt, Main | Group |
2014 | Albrecht Dürer und sein Kreis | Kunstmuseum Basel, Basel | Group |
2014 | Looks Good on Paper: Masterworks and Favorites | Toledo Museum of Art, Toledo, OH | Group |
2014 | Bow Down: Queens in Art | Smith College Museum of Art, Northampton, MA | Group |
2014 | Five Centuries of Melancholia | University of Queensland Art Museum, Brisbane, QLD | Group |
2014 | In the Company of Cats and Dogs | Blanton Museum of Art, Austin, TX | Group |
2014 | Formes simples | Centre Pompidou-Metz, Metz | Group |
2014 | Cet obscur objet du désir | Musée Gustave Courbet, Ornans | Group |
2014 | Style And Perfection | Städel Museum, Frankfurt, Main | Group |
2014 | From Hogarth to Hundertwasser: A Passion for Prints | Sonoma County Museum, Santa Rosa, CA | Group |
2014 | History's Shadow: German Art and the Formulation of National Identity | Cohen Memorial Hall , Nashville, TN | Group |
2014 | Strange Beauty: Masters of the German Renaissance | The National Gallery, London | Group |
2014 | Altdeutsche Meisterblätter. Druckgraphik der Dürerzeit | Landesmuseum Mainz, Mainz | Group |
2014 | Bodytime | Rønnebæksholm, Næstved | Group |
2013 | Dürer | Städel Museum, Frankfurt, Main | Solo |
2013 | The Young Dürer: Drawing the Figure | Courtauld Gallery, London | Solo |
2013 | Albrecht Dürer: Master Drawings, Watercolors, and Prints from the Albertina | The National Gallery of Art, Washington, DC | Solo |
2013 | Art on Paper | Kunsthalle Bremen, Bremen | Solo |
2013 | Saints And Sinners: The Bible As Word And Image | Mills College Art Museum, Oakland, CA | Group |
2013 | Albrecht Dürer & Rembrandt van Rijn | Galerie D'orsay, Boston, MA | Group |
2013 | Curiosity: Art And The Pleasures Of Knowing | Norwich Castle Museum & Art Gallery, Norwich | Group |
2013 | Painting Nature | Auckland Art Gallery, Auckland | Group |
2013 | Voyager: Albrecht Dürer, William Hogarth, And Patrick Mahon With Stowaways | University Avenue, McMaster University, Hamilton, ON | Group |
2013 | This Just In! | Amherst College, Amherst, MA | Group |
2013 | Luminous | Blanton Museum of Art, Austin, TX | Group |
2013 | Gestochen scharf. Von Dürer bis Kirkeby | Städtisches Museum Zwickau, Zwickau | Group |
2013 | Curiosity: Art and the Pleasure of Knowing | Turner Contemporary, Margate, Kent | Group |
2013 | Master Drawings | The Ashmolean Museum of Art and Archaeology, Oxford | Group |
2013 | Vues d´en haut | Centre Pompidou-Metz, Metz | Group |
2013 | Déjà-vu? Die Kunst der Wiederholung von Dürer bis YouTube | Staatliche Kunsthalle Karlsruhe, Karlsruhe | Group |
2013 | Traits de Genie | Palais des Beaux-Arts Lille, Lille | Group |
2013 | Fenêtres, de la Renaissance à nos jours. Dürer, Monet, Magritte... | Fondation de l'Hermitage, Lausanne | Group |
2012 | Albrecht Dürer. Holzschnitte aus: Apokalypse, Passion und Marienleben | A. Paul Weber Museum, Ratzeburg | Solo |
2012 | Albrecht Dürer | Kunsthalle zu Kiel, Kiel | Solo |
2012 | Focus on a Masterpiece: Albrecht Dürer's Melencolia | The Minneapolis Institute of Arts, Minneapolis, MN | Solo |
2012 | Albrecht Dürer: Kupferstiche | Grafik Museum Stiftung Schreiner, Bad Steben | Solo |
2012 | Der frühe Dürer | Germanisches Nationalmuseum, Nuremberg | Solo |
2012 | Galleria Grafica Collection No.20 | Galleria Grafica Tokyo, Tokyo | Group |
2012 | Albrecht Dürer et son temps | École nationale supérieure des beaux-arts, Paris | Group |
2012 | Beautiful Monsters | Art Gallery of Alberta, Edmonton, Alberta | Group |
2012 | Metamorphosis: The Transformation of Being | All Visual Arts, London | Group |
2012 | Affinity Atlas | Ruth and Elmer Wellin Museum of Art, Clinton, NY | Group |
2012 | Mantegna to Matisse: Master Drawings from the Courtauld Gallery | The Frick Collection, New York City, NY | Group |
2012 | A WINDOW ON THE WORLD, from Dürer to Mondrian and beyond | Museo Cantonale d´Arte Lugano, Lugano | Group |
2012 | Printing Practice | Oberlin College, Oberlin, OH | Group |
2012 | Dürer and His Legacy | Georgia Museum of Art, Athens, GA | Group |
2012 | Faces and Hands: Ancient and Modern Germanic Painting | Museo Thyssen-Bornemisza, Madrid | Group |
2012 | A Matter of Words | OSL contemporary, Oslo | Group |
2012 | Déjà-vu? Die Kunst der Wiederholung von Dürer bis YouTube | Staatliche Kunsthalle Karlsruhe, Karlsruhe | Group |
2012 | The Getty Research Institute: Recent Print Acquisitions | The Getty Center, Los Angeles, CA | Group |
2012 | Adam and Eve and the Apple Affair | Graphische Sammlung der ETH, Zurich | Group |
2012 | The Sandy & John Nesbitt Collection: The Discriminating Eye At Work | Bucknell University, Lewisburg, PA | Group |
2012 | Morbid Curiosity: The Richard Harris Collection | Chicago Cultural Center, Chicago, IL | Group |
2011 | Engravings and Woodcuts by Albrecht Dürer | Montgomery Museum of Fine Arts, Montgomery, AL | Solo |
2011 | More Light | Museum de Fundatie Blijmarkt, Zwolle | Solo |
2011 | Grisaille | Luxembourg & Dayan, New York City, NY | Group |
2011 | Galleria Grafica Collection No.19 | Galleria Grafica Tokyo, Tokyo | Group |
2011 | Melancholia | Ota Fine Arts, Tokyo | Group |
2011 | Storytelling in Miniature | Toledo Museum of Art, Toledo, OH | Group |
2011 | A Pioneering Collection: Master Drawings from the Crocker Art Museum | The Frances Lehman Loeb Art Center, Poughkeepsie, NY | Group |
2011 | Night Scented Stock | Marianne Boesky Gallery, New York City, NY | Group |
2011 | Night Scented Stock, Curated By Todd Levin | Marianne Boesky Gallery, New York City, NY | Group |
2011 | Himmlischer Glanz | Schloss Pillnitz, Dresden | Group |
2011 | Overture | Blanton Museum of Art, Austin, TX | Group |
2011 | Dürer und Co reloaded | Städtisches Kunstmuseum Spendhaus Reutlingen, Reutlingen | Group |
2011 | Würde und Anmut | Felix-Nussbaum-Haus, Osnabruck | Group |
2011 | About Face: Portraiture as Subject | Blanton Museum of Art, Austin, TX | Group |
2011 | Totentanz | Museum Junge Kunst, Frankfurt, Oder | Group |
2010 | The Strange World of Albrecht Dürer | Sterling and Francine Clark Art Institute, The Clark, Williamstown, MA | Solo |
2010 | Albrecht Dürer | NMWA The National Museum of Western Art, Tokyo | Solo |
2010 | ATLAS ¿Cómo llevar el mundo a cuestas? | Museo Nacional Centro de Arte Reina Sofía, Madrid | Group |
2010 | The Secret Life of Drawings | The Getty Center, Los Angeles, CA | Group |
2010 | Die Chronologie der Bilder | Städel Museum, Frankfurt, Main | Group |
2010 | Galleria Grafica Collection No.18 | Galleria Grafica Tokyo, Tokyo | Group |
2010 | Lust und Laster. Die 7 Todsünden von Dürer bis Naumann | Kunstmuseum Bern, Bern | Group |
2010 | De Dürer à Jan Fabre. Chefs-d’œuvre | Musée d'Ixelles, Brussels | Group |
2010 | The Land Between Us: power, place and dislocation | The Whitworth Art Gallery, Manchester | Group |
2010 | Dancing Towards Death: The Richard Harris Collection | Figge Art Museum, Davenport, IA | Group |
2010 | Lebenslust und Totentanz | Kunsthalle Krems, Krems | Group |
2010 | De Durero a Picasso. Cinco siglos de grabado | Museo Nacional de Arte Decorativo (MNAD) de la Sec, Buenos Aires | Group |
2010 | Five Centuries of Medicine in Art | Rochester Art Center, Rochester, MN | Group |
2010 | Alfred Kubin & sein Kreis | Stadtgalerie Klagenfurt, Klagenfurt | Group |
2010 | Old Masters From The Thrivent Financial Collection | Masur Museum of Art, Monroe, LA | Group |
2010 | Intimacy! Baden in der Kunst | Kunstmuseum Ahlen, Ahlen | Group |
2010 | Imitation & Invention | Davison Art Center, Wesleyan University, Middletown | Group |
2010 | In the Footsteps of Masters: The Evolution of the Reproductive Print | Figge Art Museum, Davenport, IA | Group |
2010 | Strictly Death: Selected Works from the Richard Harris Collection | Slought Foundation, Philadelphia, PA | Group |
2009 | Albrecht Durer: Virtuoso Printmaker | Museum of Fine Arts, Boston, Boston, MA | Solo |
2009 | Albrecht Dürer: Impressions of the Renaissance | The Frances Lehman Loeb Art Center, Poughkeepsie, NY | Solo |
2009 | Albrecht Durer: Die Apokalypse | Wallraf-Richartz-Museum, Cologne | Solo |
2009 | Albrecht Dürer: Art in Transition | Museum of Fine Arts St. Petersburg, St. Petersburg, FL | Solo |
2009 | Albrecht Dürer: Art in Transition | The Museum of Fine Arts, St. Petersburg, FL | Solo |
2008 | Albrecht Dürer: Meisterwerke der Renaissance | Kunsthaus Kaufbeuren, Kaufbeuren | Solo |
2008 | Works of a Renaissance Master: The Prints of Albrecht Dürer | Art Gallery of Alberta, Edmonton, Alberta | Solo |
2008 | Dürer und ... Künstler der Akademie und Albrecht Dürer | Kunstakademie Düsseldorf, Dusseldorf | Solo |
2008 | The Prints of Albrecht Dürer | Art Gallery of Windsor, Windsor, Ontario | Solo |
2007 | Paper Pleasures | Columbia Museum of Art, Columbia, SC | Solo |
2007 | Albrecht Dürer: Prints from the Foundation of Lower Saxony and the Konrad Liebmann Foundation | Blanton Museum of Art, Austin, TX | Solo |
2007 | Albrecht Dürer | New Orleans Museum of Art NOMA, New Orleans, LA | Solo |
2006 | Albrecht Dürer: Meisterwerke der Druckgraphik | Helferhaus, Backnang | Solo |
2006 | Albrecht Dürer: Fünfzig Meisterblätter | Kunsthaus Zürich, Zurich | Solo |
2006 | The Forgotten Art of Engraving | University of Missouri-Columbia, Columbia, MO | Solo |
2006 | Albrecht Dürer: Zwei Schwestern | Städel Museum, Frankfurt, Main | Solo |
2005 | Dürer and His Contemporaries: Giant Engravings by Giants of Art Triumph of Emperor Maximilian I | Museum of Fine Arts, Budapest, Budapest | Solo |
2005 | Durero. Obras maestras de la Albertina | Museo Nacional del Prado, Madrid | Solo |
2004 | Albrecht Dürer: Life of the Virgin | Sterling and Francine Clark Art Institute, The Clark, Williamstown, MA | Solo |
2004 | Proof Of Genius: The Prints Of Albrecht Durer | UCLA Hammer Museum, Los Angeles, CA | Solo |
2003 | Albrecht Dürer | Albertina, Vienna | Solo |
1999 | Prints by Albrecht Dürer | Kelowna Art Gallery, Kelowna, BC | Solo |
1998 | Dürers Dinge: Hundert Meisterwerke der Druckgrafik | Städtische Galerie Villa Zanders, Bergisch Gladbach | Solo |
1996 | Albrecht Durer: Wood Engravings | The Nicosia Municipal Arts Centre, Nicosia | Solo |
1995 | Albrecht Dürer and the renaissance woodcut in transition | University Art Museum, California State University, Long Beach, CA | Solo |
1990 | Albrecht Dürer: The Apocalypse | The Metropolitan Museum of Art, New York City, NY | Solo |
1988 | Albrecht Durer | Nantenshi Gallery, Tokyo | Solo |
1985 | Easter Themes: The Art of Albrecht Durer | Missoula Art Museum MAM, Missoula, MT | Solo |
1984 | Old Master Drawings from the Albertina | The National Gallery of Art, Washington, DC | Solo |
1983 | Durer: German Master Printmaker | The Cleveland Museum of Art, Cleveland, OH | Solo |
1982 | Nadahnuće: Dürer | Galerija Umjetnina Split, Split | Solo |
1981 | Albrecht Dürer aus dem graphischen Bestand der Kunsthalle Bremen | Kunsthalle Bremerhaven, Bremerhaven | Solo |
1978 | Albrecht Dürer and the Apocalypse : the complete series of woodcuts | Neuberger Museum of Art, Purchase, NY | Solo |
1973 | Albrecht Dürer: choix d'estampes de la Collection Mancel | Musée des Beaux-Arts de Caen, Caen | Solo |
1972 | Albrecht Dürer | Lamut Art Salon, Kostanjevica na Krki | Solo |
1971 | Albrecht Dürer Prints | Utah Museum of Fine Arts, Salt Lake City, UT | Solo |
1971 | Albrecht Dürer | Statens museum for kunst, Copenhagen | Solo |
1971 | Albrecht Dürer | The Metropolitan Museum of Art, New York City, NY | Solo |
1971 | Albrecht Dürer: Master Graphic Artist | Birmingham Museum of Art, Birmingham, AL | Solo |
1971 | Dürer in America: His Graphic Work | The National Gallery of Art, Washington, DC | Solo |
1970 | Albrecht Dürer 1471-1528 | Philadelphia Museum of Art, Philadelphia, PA | Solo |
1968 | Albrecht Durer | Norton Simon Museum of Art, Pasadena, CA | Solo |
1958 | Woodcuts of Albrecht Dürer | Montclair Art Museum, Montclair, NJ | Solo |
1958 | Prints by Albrecht Durer | Saint Louis Art Museum, Saint Louis, MO | Solo |
1950 | Engravings by Albrecht Dürer (1471-1528) | Birmingham Museum & Art Gallery, Birmingham | Solo |
1946 | Albrecht Dürer, Das graphische Werk | Kunsthaus Zürich, Zurich | Solo |
1937 | Albrecht Dürer. Kobberstik, raderinger og træsnit | Statens museum for kunst, Copenhagen | Solo |
1936 | Dürer | Kunstverein in Hamburg, Hamburg | Solo |
1935 | Prints by Albrecht Dürer | Saint Louis Art Museum, Saint Louis, MO | Solo |
1929 | Albrecht Durer, Wood Engravings | Indianapolis Museum of Art (IMA), Indianapolis, IN | Solo |
1928 | Prints by Albrecht Dürer | Saint Louis Art Museum, Saint Louis, MO | Solo |
1928 | Dürer | Kunstverein in Hamburg, Hamburg | Solo |
1926 | Woodcuts by Albrecht Dürer. | National Gallery of Canada, Musée des beaux-arts du Canada, Ottawa, ON | Solo |
1917 | Albrecht Dürer. Stik af | Statens museum for kunst, Copenhagen | Solo |
1913 | Albert Durer's Engravings: Little Passion | Indianapolis Museum of Art (IMA), Indianapolis, IN | Solo |