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100% hand painted, 100% cotton canvas,
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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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Betrayal_of_Christ
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Betrayal of Christ
1508 Engraving, 118 x 75 mm Metropolitan Museum of Art, New York Sheet No. 3 of the Engraved Passion. St Peter, striking Malchus, seems to take the spotlight away from Christ. The head of Malchus is strongly reminiscent of that in a Schongauer's engraving. The episode in the background, showing a fleeing youth, represents the rarely illustrated passage Mark 14:51-52, perhaps transmitted by Passion plays. The object underneath Malchus is a lantern, which he customarily carries in Passion plays. The emphasis is here shifted from the commotion of the arrest to the tragedy of the betrayal. Physical violence is limited to the duel between St Peter and Malchus. Christ, unconscious of the noose which threatens his neck, bends his head and closes his eyes to receive the kiss, as though Judas and he were alone in the universe. Closely related to the corresponding subject in the Green Passion.Artist:D?RER, Albrecht Title: Betrayal of Christ (No. 3) Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63584
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| 1508 Engraving, 118 x 75 mm Metropolitan Museum of Art, New York Sheet No. 3 of the Engraved Passion. St Peter, striking Malchus, seems to take the spotlight away from Christ. The head of Malchus is strongly reminiscent of that in a Schongauer's engraving. The episode in the background, showing a fleeing youth, represents the rarely illustrated passage Mark 14:51-52, perhaps transmitted by Passion plays. The object underneath Malchus is a lantern, which he customarily carries in Passion plays. The emphasis is here shifted from the commotion of the arrest to the tragedy of the betrayal. Physical violence is limited to the duel between St Peter and Malchus. Christ, unconscious of the noose which threatens his neck, bends his head and closes his eyes to receive the kiss, as though Judas and he were alone in the universe. Closely related to the corresponding subject in the Green Passion.Artist:D?RER, Albrecht Title: Betrayal of Christ (No. 3) 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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