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Abstract
To answer the question1, this essay explores the components of the unanswered question which are reviewed from the tools required to approach the visual product of a moment that experienced transitions such as geographical historical context of Albrecht Dürer (Nuremberg, May 21, 1471; Nuremberg, April 6, 1528). The look to the work is directed from the pre iconographic to the iconographic and iconological approach which, from the Panofsky’s (1995: 43) perspective provides important resources to contextualize the significant meanings associated with the author’s time. Since the revision to the work Picture Theory (Mitchell, 2009), the above mentioned significances are gathered in order to establish the aspects of the verbal/visual tension that allow the establishment of the pictorial turn in a work full of visual discourse that must be understood from the potential dialectic sociological, hermeneutic, philosophical, historical, and religious possibilities.
