Editing Albrecht Dürer (section)

===First journey to Italy (1494–1495)===
Within three months of his marriage, Dürer left for Italy, alone, perhaps prompted by an outbreak of [[Black Death|plague]] in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving ''Nemesis''.

In Italy, he went to Venice to study its more advanced artistic world.<ref name=Lee>Lee, Raymond L. & Alistair B. Fraser. (2001) ''The Rainbow Bridge'', Penn State Press. {{ISBN|0-271-01977-8}}.</ref> Through Wolgemut's tutelage, Dürer had learned how to make prints in [[drypoint]] and design woodcuts in the German style, based on the works of Schongauer and the [[Housebook Master]].<ref name=Lee /> He also would have had access to some Italian works in Germany, but the two visits he made to Italy had an enormous influence on him. He wrote that [[Giovanni Bellini]] was the oldest and still the best of the artists in Venice. His drawings and engravings show the influence of others, notably [[Antonio del Pollaiuolo]], with his interest in the proportions of the body; [[Lorenzo di Credi]]; and [[Andrea Mantegna]], whose work he produced copies of while training.<ref>Campbell, Angela and Raftery, Andrew. "Remaking Dürer: Investigating the Master Engravings by Masterful Engraving", [http://artinprint.org/article/remaking-durer-investigating-the-master-engravings/ ''Art in Print'' Vol. 2 No. 4] (November–December 2012).</ref> Dürer probably also visited [[Padua, Italy|Padua]] and [[Mantua]] on this trip.{{refn|The evidence for this trip is not conclusive; the suggestion it happened is supported by Panofsky (1945) and is accepted by a majority of scholars, including the several curators of the large 2020–22 exhibition "Dürer's Journeys", but it has been disputed by other scholars, including Katherine Crawford Luber (in her ''Albrecht Dürer and the Venetian Renaissance,'' 2005)|group=n}}