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This seminar examines Dürer's project to transform the genres of late medieval devotional art in line with his self-image as a Christian humanist painter. Against the backdrop of new agendas for reform, we consider Dürer's collaborations with Celtis, Chelidonius, and Pirckheimer; the therapeutic impulse behind his self-portraits, the works dedicated to friends, and his altarpieces; the Meisterstiche; and other works that thematized the Renaissance philosophical ideal, first found in Petrarch, of a life lived self-consciously and in service to others.