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Page "Albrecht Dürer" ¶ 34
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Dürer and took
Von Kulmbach then apprenticed with Albrecht Dürer and after Dürer retired from painting altarpieces in 1510 Kulmbach took over most of his commissions.

Dürer and large
Dürer made large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hände ( English: Praying Hands, c. 1508 Albertina, Vienna ), a study for an apostle in the Heller altarpiece.
Dürer also appears to have been collecting for his own cabinet of curiosities, and he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins, and a wooden weapon from the East Indies.
Some important artists made such pieces, notably Albrecht Dürer, who worked on both large picture prints and also ornament prints intended for wall-hanging.
When Albrecht Dürer visited the Netherlands in 1521, apart from artworks he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins and a wooden weapon from the East Indies.
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.
When L ' Antico and Dürer saw it, the Apollo was probably still in the personal collection of della Rovere, who, once he was pope as Julius II, transferred the prize in 1511 to the small sculpture court of the Belvedere, the palazzetto or summerhouse that was linked to the Vatican Palace by Bramante's large Cortile del Belvedere.
The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486-9.

Dürer and prints
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.
The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds ( Giulio Campagnola and Christofano Robetta ), or whole prints ( Marcantonio Raimondi and Agostino Veneziano ).
* Dürer Prints Close-up: a series of short videos that explore the subjects and techniques of Dürer's prints.
At that time, Sloane's collection consisted of around 71, 000 objects of all kinds including some 40, 000 printed books, 7, 000 manuscripts, extensive natural history specimens including 337 volumes of dried plants, prints and drawings including those by Albrecht Dürer and antiquities from Egypt, Greece, Rome, the Ancient Near and Far East and the Americas.
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.
The Graphic cabinet houses rich collections of Dutch and German drawings and prints ( Jan van Goyen, Dürer, Cranach, Rembrandt, Merian etc.
Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt.
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.
The Loeb's works on paper represent a major collection in the United States, with prints by Rembrandt ( including important impressions of the " Hundred Guilder Print " and the " Three Trees ") and Dürer as well as photographs by Cindy Sherman, Diane Arbus, and others.
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.
His bedroom contains many of his original books, and a collection of Dürer prints.
Around the same time, Albrecht Dürer made his two trips to Italy, where he was greatly admired for his prints.
His first inspiration was derived from the prints of Dürer and the Faust of Cornelius, and the first fruit of this turn of study was the Genofeva series.
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.
Within the piece one can see Bassano's exposure to the prints of Dürer and the paintings of Raphael, especially in the highly charged emotions of the subjects and the dynamic and highly stylized posture of the figures.
The ecce homo theme was included not only in the passion plays of medieval theatre, but also in cycles of illustrations of the story of the Passion, as in the Passions of Albrecht Dürer or the prints of Martin Schongauer.
He was one of the " Little Masters ", the group of German artists making small old master prints in the generation after Dürer.

Dürer and with
Dürer may well have worked on some of these, as the work on the project began while he was with Wolgemut.
In early 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg.
Other paintings Dürer produced in Venice include The Virgin and Child with the Goldfinch, Christ Disputing with the Doctors ( supposedly produced in a mere five days ), and a number of smaller works.
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 ).
The design program and explanations were devised by Johannes Stabius, the architectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by Hieronymous Andreae, with Dürer as designer-in-chief.
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.
Dürer journeyed with his wife and her maid via the Rhine to Cologne and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal.
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.
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.
Notably, Dürer had contacts with various reformers, such as Zwingli, Andreas Karlstadt, Melanchthon, Erasmus and Cornelius Grapheus from whom Dürer received Luther's ' Babylonian Captivity ' in 1520.
The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of Saints ; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion.
Thus Dürer contributed to the expansion in German prose which Martin Luther had begun with his translation of the Bible.
It was in Bologna that Dürer was taught ( possibly by Luca Pacioli or Bramante ) the principles of linear perspective, and evidently became familiar with the ' costruzione legittima ' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca.
Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles.
In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors ; here Dürer also deals with human physiognomy.
File: Albrecht Dürer-Ritratto del padre-Google Art Project. jpg | Albrecht Dürer the Elder with a Rosary, 1490, Galleria degli Uffizi, Florence
File: Albrecht Dürer 058. jpg | Mary with the squatting child, 1516, oil on panel, Metropolitan Museum of Art
Nevertheless, Erasmus and Dürer maintained a close friendship, with Dürer going so far as to solicit Erasmus's support for the Lutheran cause, which Erasmus politely declined.
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.

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