Scheurl'S Weapon

Technique: Giclée quality print
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More about this artwork

This artwork by Albrecht Dürer, titled "Scheurl's Weapon," is an intricate heraldic design that brings together various symbolic elements within a detailed emblem. At the heart of the image is a coat of arms, sectioned into multiple parts, each bearing different heraldic symbols such as stars, a crescent, a wild man, and a lion. These symbols are often used in heraldry to represent various personal or familial traits and histories.Surrounding the shield are ornamental flourishes that include a leafy, vine-like motif and additional decorative elements that enhance the overall aesthetic of the piece. Above the crest, a wild man, possibly functioning as a crest figure, supports the shield. The wild man in heraldry is typically depicted as a leaf-clad figure representing wildness, strength, and freedom.Dürer's precise line work and attention to detail are evident, showcasing his skill with engraving. The piece likely served not only as an artistic expression but also as a demonstration of the social standing and identity of the individual or family represented by the coat of arms. The blank banner and shield elements suggest that the artwork might have been customizable for different clients or purposes.Overall, this piece is a beautiful example of Northern Renaissance art, particularly in its combination of technical skill and emblematic symbolism.

Delivery

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Returns

Yes, reproductions can be returned.

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Christian paintings, woodcuts and landscapes by the German Renaissance master Albrecht Dürer (1471-1528). Dürer's pieces on Christian themes and allegory are considered to be the finest examples of the Northern Renaissance. One of Dürer's most famous works on Christ is his "Crucifixion" woodcut (1503). The piece demonstrates Dürer's mastery of the medium and deep understanding of Christian symbolism. The work depicts the crucifixion of Christ in a powerful and realistic manner, with an emphasis on the suffering and sacrifice of Christ. Dürer began his career as an apprentice in Nuremberg to the master craftsman Michael Wolgemut. He later became the founding member of the city's painters' guild and was an active member of humanist circles prominent in Nuremberg at the time.