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Albrecht Durer SelfPortrait Artist and Humanist, Albrecht Durer is one of the most significant figures in the background f European art out Italy during the Renaissance (Gowing 195). Portraying the questioning spirit of the Renaissance, Durer's certainty he must analyze and explore his own scenario through capturing the very essence of his role as artist and founder, is represented from the Self-portrait at a Fur Collared Robe (Strieder 10). Together with the portrait, Durer's exceptionally self-conscious approach to his standing as an artist coveys his exalted mission of art more clearly than at any other painting. He seems to become "less concerned with himself as a person compared to himself as an artist, and not as together with the artist than with the source and exalted mission of art itself." (Strieder 13). In this self-portrait Durer portrays himself in the guise of the Savior. Durer's natural similarity to Christ has been reverently amplified (Hutchinson 67). His bearded face is grave, and fringed by lustrous shoulder-lenth hair painted in a darkened, Christ-like brownish (Russell 89. Critics have called attention to the fact that, the portrait was intended to depict Durer since the "believing" artist through accent on the enlarged eyes and the ideal hand. Duere's use of this full-face view and nearly hypnotic gaze "emphasizes his view that the sensation of sight is the most noble of those five senses" He composed in the Introduction to his Painter's Manual, "For the noblest of man's senses is sight Hence a thing seen is more believable and more long-lasting to people than something we hear" (Hutchison 68). The position of the perfect hand held in front of his torso is almost like in blessing (89 Russell). Joachim Camerarius, a professor who published a Latin translation of 2 of Durer's books, wrote of Durer's "intelligent head, his flashing eyes, his nobly formed nose, his broad chest," and then noted: "However his fingers- you would vow you had never seen anything more tasteful" (Russell 8). Along with his qualities of head and attention, the extended fingers in his self-portrait portrays his outstanding "school of hand." Camerarius continued: "What will I say of this steadiness and exactitude of the hands? You might swear that rule, squarefoot, or compasses had been used to draw lines that he, in face, drew with the brush, or very often with pencil or pen this.