Albrecht Dürer (1471-1528) is Germany’s most famous artist and one of Europe’s most important Renaissance stars, whose contemporary fame surpassed Da Vinci and Michelangelo. Dürer ’s popularity has been attributed to his complex, dramatic imagery, his scientific accuracy in representation, and his mastery in all media (paintings, engravings, etchings, and woodcuts). But the truth is that Dürer was manipulating every buyer’s mind with hidden messages and subliminal marketing techniques that were hidden in plain sight.
As I began collecting Dürer prints, I was puzzled by the astonishingly unusual iconography of many of Dürer ’s compositions, the on-going confusion among Dürer historians regarding the interpretations of his imagery, and the persistent use of Italian Renaissance and Christian symbolism by historians that failed for hundreds of years to adequately explain Dürer ’s messages. When I purchased an impressive 1498 Promenade in 2007, I discovered the first known embedded coded message in the neckline of the woman’s dress. At that point the entire paradigm shifted about everything known about Albrecht Dürer’s art .
My unique research of the last seven years into the life and art of Albrecht Dürer has resulted in discovering embedded codes hidden in plain sight, over 1/2 of his entire oeurve, including the paintings and drawings, inexplicably missed by others in the past 500 years.
Why was Dürer hiding messages in the art? What did these messages mean? Who was intended to receive these messages and who was not? Was there a pattern among these messages? A new hypothesis about Dürer ’s art was needed to comprehensively explain these spectacular new findings.
After rejecting the Italian Renaissance and Christian iconographical systems that had consistently failed to thoroughly explain the imagery, and abandoning negligently perpetuated scholastic errors of the last three centuries, I had to look at Dürer ’s oeuvre with fresh eyes and no preconceived expectations. I searched for alternative symbol systems, which revealed Dürer had created his own unique coding system, known as a cipher. Prints were inspected with high resolution scanning, surprisingly revealing micro-engraved sexual symbols and illuminating more embedded codes. When Dürer ’s most famous print, Melencolia I, was found to have a micro-engraved encoded belt, it became apparent that the symbols in the cartouche held by the bat was not a title but an ingeniously encoded inscription. Melencolia I is not allegorical.
You are looking at “O N rosette (diadem) then on the right “O R I C A 9”
As a consequence of this analysis, I also found an interrelationship among compositions that had never been previously identified. I realized Dürer had pulled off the greatest art hoax in history.
Three exhibitions of these discoveries have been held at famous Universities in the United States, the last exhibition taking place in March 2013.
Next, we will explore one very unusual Dürer print, erroneously titled The Temptation of the Idler, whose secrets are only revealed by using the Dürer Cipher.