albrecht dürer’s knight death and the devil is a famous example of which artistic medium
Some historians argue the Dutch Catholic priest’s 1501 book Handbook of a Christian Soldier may have inspired Knight, Death, and the Devil’s horseman. One particular passage seems to suit the knight’s firm-chinned stare:
“In order that you may not be deterred from the path of virtue because it seems rough and dreary … and because you must constantly fight three unfair enemies—the flesh, the devil, and the world—this third rule shall be proposed to you: all of those spooks and phantoms which come upon you as if you were in the very gorges of Hades must be deemed for naught after the example of Virgil’s Aeneas … Look not behind thee.”
The work is considered one among three of Dürer’s “Meisterstiche” (master prints); along with Saint Jerome in His Study (1514) and Melencolia I (1514).  In particular, the horse is skillfully rendered in geometric shapes that call to mind Leonardo da Vinci and reflect the Renaissance interest in natural sciences and anatomy. 
An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death’s rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage;  the knight’s armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight’s plight may represent Christians’ earthly journey towards the Kingdom of Heaven. 
One of the exhibition’s most arresting prints is an engraving from around 1498 called “The Sea Monster.” In the watery foreground a curvaceous nude woman wearing an elaborate jeweled headdress is carried away by a bearded and antlered merman. On the far shore panicked little naked women climb out of the sea, as a man in an Oriental costume runs to the water’s edge, throwing up his arms in desperate alarm. Drawn with miniaturist precision, a rocky, partly forested mountain on which sprawling stone chateaus are built fills the background, giving this bizarre abduction scene a spacious, naturalistic setting.
The exhibition’s rather flat subtitle, “Art in Transition,” alludes to a larger historical perspective. Dürer was a transitional man in a transitional time, when the age of faith was starting to give way to the age of reason. He had a Renaissance mind and a Gothic soul. Deeply religious and omnivorously curious see his fantastically detailed but zoologically inaccurate 1515 woodcut of a rhinoceros based on reports of one shipped to Lisbon he hobnobbed with the most advanced scientists and the most sophisticated philosophers of his day. He worked for Roman Catholic churches and was a follower of Martin Luther. The son of a goldsmith, he was an artist of traditional if vast ambition, who specialized in a seemingly modest and relatively young technology.
Knight, Death and the Devil was completed in 1513 A.D., by Albrecht Dürer. The engraving was created during the artist’s Nuremberg period, when he served the Emperor Maximilian and lived in Nuremberg, devoting himself to engraving work. Unlike many works of the time, it was not created as a commission.
The work is a 9.6 inch by 7.5 inch black and white illustration created with a copper engraving technique. The artist etched the design in reverse/negative onto a sheet of copper and then used the plate to transfer the work with ink onto paper. Works produced by this method, are referred to as the Old Master prints.
The last years of his life Albrecht Dürer spent in his hometown. He enjoyed the esteem and respect of fellow citizens – he was even elected to the parliament of Forty – the supreme self-governing body of city management. But those days were for Germany, and in general for the whole of Western and Central Europe very difficult. “95 Theses”, which Martin Luther nailed in 1517 to the door of the Wittenberg Castle Church, marked the beginning of irreversible changes not only in the religious, but also cultural and political life of the people. They are worried not only with religious issues: too many accumulated problems were associated with the principles of existence of entire nations. Soon after the Peasants’ War broke out, led by Thomas Müntzer with peasants and the urban poor support. Nuremberg authorities began furiously pursue supporters of radical transformations, among whom there were also students and friends Durer.
A little aside from these two works it stands a book Dürer “Guide to streanthen towns, castles and fortresses”, published 1527. The artist took up this theme inspired by the appearance of a firearm. Its work on the fortifications, he wrote, based on the experience of numerous military campaigns witnessed it happened to be, the views and opinions of the participants Nuremberg armorers. And he also guided by his own ideas for architectural planning. These ideas were so fruitful that for two centuries they were borrowed by engineers fortifiers. For example, the rondels (he called them basteja) – large structures that were open at the top gun defenses and were well protected from the front and flanks, and can only be destroyed using mines – have been implemented in the fortress Bokar della Verona and in the fortress city in North Shafgauzene Switzerland. Dürer also include other proposals that were later used in the construction of fortifications – the type of round-Fort pledge to strengthen the square and the like.