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Dürer and huge
In the early 16th century many Italian artists learnt the lesson of the huge, and very rapid, international prestige that Albrecht Dürer had gained through his prints, and set out to emulate him.

Dürer and influence
In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles.
An early nude, with Italian influence, and that of Dürer.
Dürer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs.
Dürer had a profound influence on Van Orley who would in his later works try to find a synthesis between him and other Renaissance master, Raphael.
This Dürer influence is manifest in a tendency to overcrowding in composition, in a degree of attenuation in the proportions of, and a poverty of contour in, the nude figure, and also in a leaning to the selection of Gothic forms for draperies.
His paintings also show the influence of Albrecht Dürer, Guercino, and above all Raphael.
The earliest of his works that have come down to us are dated 1625 and 1626 ; they are small plates, and one of them is a copy of a " Virgin and Child " by Dürer, whose influence upon Hollar's work was always great.

Dürer and on
The earliest painted Portrait of the Artist Holding a Thistle ( Albrecht Dürer ) | Self-Portrait ( 1493 ) by Albrecht Dürer, oil, originally on vellum ( Louvre, Paris )
Dürer was born on 21 May 1471, third child and second son of his parents, who had between fourteen and eighteen children.
Dürer may well have worked on some of these, as the work on the project began while he was with Wolgemut.
Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, Dürer was married to Agnes Frey following an arrangement made during his absence.
Through Wolgemut's tutelage, Dürer had learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Martin Schongauer and the Housebook Master.
Dürer probably also visited Padua and Mantua on this trip.
Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve ( 1507 ), The Martyrdom of the Ten Thousand ( 1508, for Frederick of Saxony ), Virgin with the Iris ( 1508 ), the altarpiece Assumption of the Virgin ( 1509, for Jacob Heller of Frankfurt ), and Adoration of the Trinity ( 1511, for Matthaeus Landauer ).
However, in 1513 and 1514 Dürer created his three most famous engravings: Knight, Death, and the Devil ( 1513, probably based on Erasmus's treatise Enichiridion militis Christiani ), St. Jerome in his Study, and the much-debated Melencolia I ( both 1514 ).
Dürer worked with pen on the marginal images for an edition of the Emperor's printed Prayer-Book ; these were quite unknown until facsimiles were published in 1808 as part of the first book published in lithography.
On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a Sacra Conversazione, though neither was completed.
Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images.
Dürer wrote of his desire to draw Luther in his diary in 1520: " And God help me that I may go to Dr. Martin Luther ; thus I intend to make a portrait of him with great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties.
In all his theoretical works, in order to communicate his theories in the German language, rather than Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language.
In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent.
Finally, Dürer discusses the Delian Problem and moves on to the ' construzione legittima ', a method of depicting a cube in two dimensions through linear perspective.
Dürer based these constructions on both Vitruvius and empirical observations of, " two to three hundred living persons ," in his own words.
Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning ' ideal beauty '.
Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety.
File: Albrecht Dürer 012. jpg | St Jerome in the Wilderness, 1495, oil on panel, National Gallery, London
File: Selbstporträt, by Albrecht Dürer, from Prado in Google Earth. jpg | Self-portrait, 1498, Museo del Prado, oil on wood panel
File: Albrecht Dürer 058. jpg | Mary with the squatting child, 1516, oil on panel, Metropolitan Museum of Art

Dürer and artists
After completing his term of apprenticeship, Dürer followed the common German custom of taking Wanderjahre — in effect gap year — in which the apprentice learned skills from artists in other areas ; Dürer was to spend about four years away.
During the time that Melzi was ordering the material into chapters for publication, they were examined by a number of anatomists and artists, including Vasari, Cellini and Albrecht Dürer who made a number of drawings from them.
The suicide of Lucretia has been an enduring subject for visual artists, including Titian, Rembrandt, Dürer, Raphael, Botticelli, Jörg Breu the Elder, Johannes Moreelse, Artemisia Gentileschi, Damià Campeny, Eduardo Rosales, Lucas Cranach the Elder and others.
Dr. Leo Ruickbie also notes that the traditional and artistic representation of witches cannot be overlooked as a source for nudity in Gardner's system, citing artists such as Albrecht Dürer and Salvator Rosa.
He commissioned a series of three monumental woodblock prints – The Triumphal Arch ( 1512 – 18, 192 woodcut panels, 295 cm wide and 357 cm high – approximately 9 ' 8 " by 11 ' 8½ "), and a Triumphal Procession ( 1516 – 18, 137 woodcut panels, 54 m long ) which is led by a Large Triumphal Carriage ( 1522, 8 woodcut panels, 1½ ' high and 8 ' long ), created by artists including Albrecht Dürer, Albrecht Altdorfer and Hans Burgkmair.
Among the most famous artists of the old master print: Albrecht Dürer produced 3 drypoints before abandoning the technique ; Rembrandt used it frequently, but usually in conjunction with etching and engraving.
In comparison to other Northern Renaissance artists such as Holbein and Dürer Matsys shies away from refined and subtle detailing.
Among the most famous artists of the old master print Albrecht Dürer produced 3 drypoints before abandoning the technique ; Rembrandt used it frequently, but usually in conjunction with etching and engraving.
Among prints by non-Spanish artists, the Museum has four by Dürer: Hercules at the Crossroads, The Penance of Saint John Chrysostom, The Four Angels holding back the Winds, and Saint Michael defeating the Dragon, the last two from the Apocalypse series.
Some important artists made such pieces, notably Albrecht Dürer, who worked on both large picture prints and also ornament prints intended for wall-hanging.
He acquired numerous paintings of Albrecht Dürer, Peter Paul Rubens and additional artists for the Wittelsbach collection.
They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements.
Pisanello had many of his works wrongly ascribed to other artists such as Piero della Francesca, Albrecht Dürer and Leonardo da Vinci, to name a few.
They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and
His early works use his own compositions, combining elements from Francia and other North Italian artists, and like all Italian printmakers in these years he was strongly affected by the enormously accomplished prints of Dürer, which were widely distributed in Italy.
Caravaggio, a Baroque artist, is generally credited with the invention of the style, although this technique was used much earlier by various artists, such as Albrecht Dürer.
In woodcuts a large blank space can cause the paper to sag during printing, so Dürer and other artists often include clouds or squiggles representing birds to avoid this.
It also contains a large collection of incunabula, prints, and drawings of European artists — Leonardo, Michelangelo, Raphael, Rembrandt, Rubens, Gainsborough, Dürer, and Picasso, early printed Bibles, amongst them, three Gutenberg Bibles, and many examples of fine bookbinding.
What makes Jacopo Bassano particularly unique amongst his fellow Renaissance artists was his ability to incorporate diverse artistic influences ( including Dürer, Parmigianino, Tintoretto, and Raphael, amongst many others ) into his work despite his reluctance to leave the comfort of his home town.
He is known to have been active, and already well-established, in Augsburg from c. 1516, where he was working, and signing the reverse of blocks, under Jost de Negker, the other great blockcutter of the period, on the print projects for Maximilian I, Holy Roman Emperor involving Albrecht Dürer, Hans Burgkmair and other artists.
The institution also houses a substantial American collection ( including works by Albert Bierstadt, James McNeill Whistler, William Merritt Chase, Winslow Homer, Andrew Wyeth, Ansel Adams, Andy Warhol, Robert Rauschenberg and Jasper Johns ), European art ( including work by artists such as Albrecht Dürer, Rembrandt, Claude Lorrain, Francisco Goya, Sir Thomas Lawrence, Sir Joshua Reynolds, Sir Henry Raeburn, Toulouse-Lautrec and Pierre-Auguste Renoir ), and works from East Asia ( with pieces by Hokusai, Hiroshige and Kunisada ).
In addition to Dürer, the Apollo was sketched and copied by several major artists during the late Renaissance, including Michelangelo, Bandinelli, and Goltzius.

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