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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.
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St Anthony
96 x 143 mm Metropolitan Museum of Art, New York D?rer recorded in his diary of the trip to the Low Countries, 1520/21, that he gave away St Anthony as a present on six occasions. It is one of the very few D?rer engravings in horizontal format. St Anthony (ca. 250-350 A.D.) was the first Christian monk. He lived in Egypt and loved poverty, piety and scholarship. The traditional rendering of this saint shows him in the desert beset by fantastic creatures, a scene which allows the freest reign to an artist's imagination. But D?rer chose to picture him in a melancholy mood, in a setting where the scenery dominates the composition. The background is a cityscape taken over from an entirely different subject, the drawing Pupila Augusta which D?rer had laid aside many years before. The composition is almost cubistic in concept. The contours of saint and scene correspond. During this year D?rer experimented with "cubistic" figures and faceted faces, which like St Anthony seem to have been put together block by block.Artist:D?RER, Albrecht Title: St Anthony Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63609
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St_Anthony
96 x 143 mm Metropolitan Museum of Art, New York D?rer recorded in his diary of the trip to the Low Countries, 1520/21, that he gave away St Anthony as a present on six occasions. It is one of the very few D?rer engravings in horizontal format. St Anthony (ca. 250-350 A.D.) was the first Christian monk. He lived in Egypt and loved poverty, piety and scholarship. The traditional rendering of this saint shows him in the desert beset by fantastic creatures, a scene which allows the freest reign to an artist's imagination. But D?rer chose to picture him in a melancholy mood, in a setting where the scenery dominates the composition. The background is a cityscape taken over from an entirely different subject, the drawing Pupila Augusta which D?rer had laid aside many years before. The composition is almost cubistic in concept. The contours of saint and scene correspond. During this year D?rer experimented with "cubistic" figures and faceted faces, which like St Anthony seem to have been put together block by block.Artist:D?RER, Albrecht Title: St Anthony Painted in 1501-1550 , German - - graphics : religious
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Antwerp Harbour
1520 Pen drawing, 213 x 283 mm Graphische Sammlung Albertina, Vienna This drawing is from the artist's sketchbook of his trip to the Netherlands. The waterfront is seen from an elevation; the pictorial technique is lively and bold. The reduction in the size of the objects due to perspective, as seen in the ships, generates a vivid feeling of depth, all the more because the right foreground was never elaborated.Artist:D?RER, Albrecht Title: Antwerp Harbour Painted in 1501-1550 , German - - graphics : other
Painting ID:: 63610
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Antwerp_Harbour
1520 Pen drawing, 213 x 283 mm Graphische Sammlung Albertina, Vienna This drawing is from the artist's sketchbook of his trip to the Netherlands. The waterfront is seen from an elevation; the pictorial technique is lively and bold. The reduction in the size of the objects due to perspective, as seen in the ships, generates a vivid feeling of depth, all the more because the right foreground was never elaborated.Artist:D?RER, Albrecht Title: Antwerp Harbour Painted in 1501-1550 , German - - graphics : other
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St Apollonia
1521 Chalk drawing on green primed paper, 414 x 288 mm Staatliche Museen, Berlin The chalk drawing was an individual study for a planned monumental Madonna with saints, of which six preliminary drawings exist. The figure of St Apollonia appears on two of these studies. The drawing depicts a moment of spiritualization: St Apollonia is portrayed as a young woman who appears to be imbued with inner concentration. She is portrayed in so individual a style that it is still disputed whether D?rer used a model or created an ideal figure from his imagination.Artist:D?RER, Albrecht Title: St Apollonia Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63611
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St_Apollonia
1521 Chalk drawing on green primed paper, 414 x 288 mm Staatliche Museen, Berlin The chalk drawing was an individual study for a planned monumental Madonna with saints, of which six preliminary drawings exist. The figure of St Apollonia appears on two of these studies. The drawing depicts a moment of spiritualization: St Apollonia is portrayed as a young woman who appears to be imbued with inner concentration. She is portrayed in so individual a style that it is still disputed whether D?rer used a model or created an ideal figure from his imagination.Artist:D?RER, Albrecht Title: St Apollonia Painted in 1501-1550 , German - - graphics : study
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The Peasant and His Wife at the Market
116 x 73 mm Metropolitan Museum of Art, New York Like almost all engravings after 1514, it is devoid of any landscape in the background. Everything, even the chickens, is shown with an intensity.Artist:D?RER, Albrecht Title: The Peasant and His Wife at the Market Painted in 1501-1550 , German - - graphics : genre
Painting ID:: 63612
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The_Peasant_and_His_Wife_at_the_Market
116 x 73 mm Metropolitan Museum of Art, New York Like almost all engravings after 1514, it is devoid of any landscape in the background. Everything, even the chickens, is shown with an intensity.Artist:D?RER, Albrecht Title: The Peasant and His Wife at the Market Painted in 1501-1550 , German - - graphics : genre
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Madonna Nursing
115 x 73 mm Metropolitan Museum of Art, New York Michelangelesque monumentality and gloom here replace the Raphaelesque equilibrium of loveliness and solemnity of the Madonna Crowned by Two Angels. The group detaches itself from the solid background like sculpture projecting from a wall. The figure of the Virgin is composed of two block-like units, the lower one resembling an enormous cube. The emphasis is here shifted from linear values and dynamic movement to schematised volume.Artist:D?RER, Albrecht Title: Madonna Nursing Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63613
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Madonna_Nursing
115 x 73 mm Metropolitan Museum of Art, New York Michelangelesque monumentality and gloom here replace the Raphaelesque equilibrium of loveliness and solemnity of the Madonna Crowned by Two Angels. The group detaches itself from the solid background like sculpture projecting from a wall. The figure of the Virgin is composed of two block-like units, the lower one resembling an enormous cube. The emphasis is here shifted from linear values and dynamic movement to schematised volume.Artist:D?RER, Albrecht Title: Madonna Nursing Painted in 1501-1550 , German - - graphics : religious
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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.
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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
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