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In the same year that he was producing the illustrations of the Apocalypse, Dürer painted himself as a refined and elegant gentleman with artificially curled hair and dressed according to Venetian fashion. As in other portraits of this time, Dürer is also sitting in front of a breast-high wall, and on the right through the window an alpine landscape is visible, the fine colorings of which relates back to the landscape watercolours that were created during his Italian journey. The dominance of horizontal and vertical lines in the compositional structure of the panel refers to Florentine portrait painting.
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