|
|
|
| | | Prev Artist Next Artist
|
|
Albrecht Durer
b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
|
|
|
|
|
| Click Image to Enlarge |
The Virgin with the Dragonfly
1495 Engraving, 240 x 186 mm Staatliche Museen, Berlin The first of D?rer's engravings bearing a monogram and the only one with this archaic version of it. The dragonfly has been variously identified as a grasshopper, a praying mantis and a butterfly. The composition is still primitive, although the severely foreshortened head of St Joseph - asleep and old to stress the notion of Mary's virginity - is in marked contrast to earlier still extant drawings by D?rer of this subject. The sheet is a direct successor to Martin Schongauer's work.Artist:D?RER, Albrecht Title: The Virgin with the Dragonfly Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63564
|
|
|
The_Virgin_with_the_Dragonfly
1495 Engraving, 240 x 186 mm Staatliche Museen, Berlin The first of D?rer's engravings bearing a monogram and the only one with this archaic version of it. The dragonfly has been variously identified as a grasshopper, a praying mantis and a butterfly. The composition is still primitive, although the severely foreshortened head of St Joseph - asleep and old to stress the notion of Mary's virginity - is in marked contrast to earlier still extant drawings by D?rer of this subject. The sheet is a direct successor to Martin Schongauer's work.Artist:D?RER, Albrecht Title: The Virgin with the Dragonfly Painted in 1501-1550 , German - - graphics : religious
|
|
|
|
| Click Image to Enlarge |
The Ill-Assorted Couple or the Offer of Love
1495 Engraving, 151 x 139 mm Staatliche Museen, Berlin The style of the monogram indicates that it is one of D?rer's earliest engravings. The left-handedness of the subjects may be due to D?rer's use of an earlier model. Although a moralizing theme was read into the episode by some early commentator, D?rer probably intended to do no more than to portray purchased love.Artist:D?RER, Albrecht Title: The Ill-Assorted Couple or the Offer of Love Painted in 1501-1550 , German - - graphics : genre
Painting ID:: 63565
|
|
|
The_Ill-Assorted_Couple_or_the_Offer_of_Love
1495 Engraving, 151 x 139 mm Staatliche Museen, Berlin The style of the monogram indicates that it is one of D?rer's earliest engravings. The left-handedness of the subjects may be due to D?rer's use of an earlier model. Although a moralizing theme was read into the episode by some early commentator, D?rer probably intended to do no more than to portray purchased love.Artist:D?RER, Albrecht Title: The Ill-Assorted Couple or the Offer of Love Painted in 1501-1550 , German - - graphics : genre
|
|
|
|
| Click Image to Enlarge |
Five Lansquenets and an Oriental on Horseback
1495 Engraving, 132 x 147 mm Metropolitan Museum of Art, New York In early commentaries the scene was described as a band of robbers attacking D?rer, or as William Tell. More recently it has been suggested that it had originally been intended as a scene beneath the Cross. Italian influence is manifest, but the grouping, particularly the position of the Oriental horseman, is a little awkward. Note the scotch plaid pattern of the Turk's saddlecloth.Artist:D?RER, Albrecht Title: Five Lansquenets and an Oriental on Horseback Painted in 1501-1550 , German - - graphics : other
Painting ID:: 63566
|
|
|
Five_Lansquenets_and_an_Oriental_on_Horseback
1495 Engraving, 132 x 147 mm Metropolitan Museum of Art, New York In early commentaries the scene was described as a band of robbers attacking D?rer, or as William Tell. More recently it has been suggested that it had originally been intended as a scene beneath the Cross. Italian influence is manifest, but the grouping, particularly the position of the Oriental horseman, is a little awkward. Note the scotch plaid pattern of the Turk's saddlecloth.Artist:D?RER, Albrecht Title: Five Lansquenets and an Oriental on Horseback Painted in 1501-1550 , German - - graphics : other
|
|
|
|
| Click Image to Enlarge |
St Jerome Penitent in the Wilderness
1496 Engraving, 324 x 228 mm Metropolitan Museum of Art, New York The stone in the saint's right hand serves to strike his chest. In this engraving too Italian influence is manifest. The scenery in the background, however, is based on sketches of quarries in the vicinity of Nuremberg). There is a certain lack of cohesion between the various parts of this unusually large plate. St Jerome, one of the most learned Fathers of the Church and author of the Vulgate, was born in 331 or 342 in Dalmatia of a well-to-do family. He died in 420. He was one of the favourite saints of D?rer's time, but, curiously, Martin Luther was less than fond of him. "I know of no one among the teachers whom I bear as much enmity as St Jerome, for he speaks only of fasting, virginity, etc."Artist:D?RER, Albrecht Title: St Jerome Penitent in the Wilderness Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63567
|
|
|
St_Jerome_Penitent_in_the_Wilderness
1496 Engraving, 324 x 228 mm Metropolitan Museum of Art, New York The stone in the saint's right hand serves to strike his chest. In this engraving too Italian influence is manifest. The scenery in the background, however, is based on sketches of quarries in the vicinity of Nuremberg). There is a certain lack of cohesion between the various parts of this unusually large plate. St Jerome, one of the most learned Fathers of the Church and author of the Vulgate, was born in 331 or 342 in Dalmatia of a well-to-do family. He died in 420. He was one of the favourite saints of D?rer's time, but, curiously, Martin Luther was less than fond of him. "I know of no one among the teachers whom I bear as much enmity as St Jerome, for he speaks only of fasting, virginity, etc."Artist:D?RER, Albrecht Title: St Jerome Penitent in the Wilderness Painted in 1501-1550 , German - - graphics : religious
|
|
|
|
| Click Image to Enlarge |
The Penance of St John Chrysostom
1496 Engraving, 180 x 119 mm Metropolitan Museum of Art, New York St John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called "golden-mouthed" (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor's daughter, having lost her way one day, sought refuge in his cave. Upon her insistence he admitted her and they sinned. As penance he vowed to walk on all fours until forgiven. Years later the Empress gave birth to another child who refused baptism except from St John Chrysostom. Everyone despaired of finding him, when some hunters brought a strange wild animal to the festivities. The child, seeing the animal, said, "You are forgiven." St John stood up and shed his long moss-covered hair, and the Pope recognized him. The courtiers searched the desert and found the Emperor's daughter, who had also survived the ordeal in the wilderness. Mrs. Heaton, D?rer's first biographer in English, describes the scene very poignantly: "The princess is quite naked and more graceful in form and more beautiful of face than most of D?rer's female figures. There is a certain tenderness about her that makes us think that perhaps D?rer's sympathies were not entirely with the repentant saint who is seen in the background." The composition was perhaps suggested to D?rer by Jacopo de Barbari's engraving Cleopatra (or vice versa). Raphael must certainly have known this engraving since he borrowed the landscape and the castle, which appear the same in the Oxford drawing for Raphael's Pasadena Madonna and Child. D?rer's figures, however, were of no interest to Raphael.
Painting ID:: 63568
|
|
|
The_Penance_of_St_John_Chrysostom
1496 Engraving, 180 x 119 mm Metropolitan Museum of Art, New York St John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called "golden-mouthed" (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor's daughter, having lost her way one day, sought refuge in his cave. Upon her insistence he admitted her and they sinned. As penance he vowed to walk on all fours until forgiven. Years later the Empress gave birth to another child who refused baptism except from St John Chrysostom. Everyone despaired of finding him, when some hunters brought a strange wild animal to the festivities. The child, seeing the animal, said, "You are forgiven." St John stood up and shed his long moss-covered hair, and the Pope recognized him. The courtiers searched the desert and found the Emperor's daughter, who had also survived the ordeal in the wilderness. Mrs. Heaton, D?rer's first biographer in English, describes the scene very poignantly: "The princess is quite naked and more graceful in form and more beautiful of face than most of D?rer's female figures. There is a certain tenderness about her that makes us think that perhaps D?rer's sympathies were not entirely with the repentant saint who is seen in the background." The composition was perhaps suggested to D?rer by Jacopo de Barbari's engraving Cleopatra (or vice versa). Raphael must certainly have known this engraving since he borrowed the landscape and the castle, which appear the same in the Oxford drawing for Raphael's Pasadena Madonna and Child. D?rer's figures, however, were of no interest to Raphael.
|
|
|
| Prev Artist Next Artist
|
|
Albrecht_Durer
b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
|
|
|
ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
|
|
Wholesale China Oil Painting Wholesale Oil Painting China Xiamen Portrait Reproduction on canvas Chinese Oil Painting Wholesale
|
|
|
|
|
