Albrecht Dürer
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Knight, Death, and the Devil by Albrecht Dürer, 1513
This is one of three engravings from the same few years that historians consider his best — what it actually means has apparently been argued over for centuries.
Erisava: Every line's razor fine, and the knight looks unbothered with the two beside him.
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St. Jerome in His Study by Albrecht Dürer, 1514
This one's grouped with two other Dürer engravings as his 'Master Prints,' from what I've read — three prints meant to show off everything the medium could do.
Erisava: I can't believe this much detail fits on something the size of a book page.
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Young Hare by Albrecht Dürer, 1502
From what I've read, drawings like this are considered too fragile for gallery light, so the original only comes out on display now and then.
Erisava: Is that a tiny window reflected in its eye, or am I seeing things?
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Melencolia I by Albrecht Dürer, 1514
Nobody has ever agreed on what this is about, which hasn't stopped four hundred years of people having a go. The grid on the wall is a magic square — every row and column adds up to the same number, and the date's worked into the bottom row. It was apparently printed around the same time as two others that get treated as a matching set.
Erisava: People spend lifetimes decoding this one. What do you get out of just looking?
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Self-Portrait by Albrecht Dürer, 1498
They say this kind of fine dress and direct stare was normally reserved for nobility — here it's just a painter claiming it for himself.
Erisava: He deserves that dress more than all the nobility I know.
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Adam and Eve by Albrecht Dürer, 1507
This wasn't his first attempt at the subject, from what I can tell — he'd already made a widely copied engraving of the same scene a few years earlier, and this panel pair reworks it in paint. That little tag hanging from the branch is apparently his own signature, tucked right into the scene.
Erisava: They don't look real to me — more like statues standing in the dark.