|
|
|
| |
|
100% hand painted, 100% cotton canvas,
100% money back if not satisfaction.
|
|
|
|
|
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.
|
|
Cardinal_Albrecht_of_Brandenburg
|
|
|
|
|
|
|
Click to Enlarge
|
| Albrecht_Durer
|
Cardinal Albrecht of Brandenburg
1523 Engraving, 174 x 127 mm Metropolitan Museum of Art, New York "Before I became ill this year I sent an engraved copper plate to Your Electoral Grace with your portrait together with five hundred impressions thereof. Finding no acknowledgment of this in Your Grace's letter, I fear that either the portrait did not please Your Grace - this would sadden me, as my diligence would have had poor results - or else, I fear that it may not have reached Your Grace at all. I beg Your Grace for a gracious reply." Thus we have in D?rer's own words the history of this engraving. The fact that D?rer sent five hundred copies to the Cardinal, all produced at the same time, explains the uniform quality of so many impressions found in various collections. All these have the identical watermark, a small jug. This engraving is based on a new preparatory drawing that probably dates from the Diet of Nuremberg, 1522/23. The Cardinal had gained weight since the earlier portrait (The Small Cardinal) he had wild, protruding eyes, a bulbous mouth and layers of fat on chin and cheeks. D?rer offset the predominant lower part of the face with a large cap. It suggests that beneath it a large impressive head is to be found. In actuality that was not the case. D?rer used utmost discretion in the treatment of the physiological details without denying the monstrous reality. It is D?rer's most interesting utilization of a profile. In contrast with the Small Cardinal, and in accordance with other late portrait engravings, this portrait has depth and substance. It is treated as a real tablet, carved and framed after the fashion of Roman tombstones, which were common in Germany, as in Italy and France.Artist:D?RER, Albrecht Title: Cardinal Albrecht of Brandenburg; or, the Great Cardinal Painted in 1501-1550 , German - - graphics : portrait
Painting ID:: 63618
|
|
|
|
|
|
| 1523 Engraving, 174 x 127 mm Metropolitan Museum of Art, New York "Before I became ill this year I sent an engraved copper plate to Your Electoral Grace with your portrait together with five hundred impressions thereof. Finding no acknowledgment of this in Your Grace's letter, I fear that either the portrait did not please Your Grace - this would sadden me, as my diligence would have had poor results - or else, I fear that it may not have reached Your Grace at all. I beg Your Grace for a gracious reply." Thus we have in D?rer's own words the history of this engraving. The fact that D?rer sent five hundred copies to the Cardinal, all produced at the same time, explains the uniform quality of so many impressions found in various collections. All these have the identical watermark, a small jug. This engraving is based on a new preparatory drawing that probably dates from the Diet of Nuremberg, 1522/23. The Cardinal had gained weight since the earlier portrait (The Small Cardinal) he had wild, protruding eyes, a bulbous mouth and layers of fat on chin and cheeks. D?rer offset the predominant lower part of the face with a large cap. It suggests that beneath it a large impressive head is to be found. In actuality that was not the case. D?rer used utmost discretion in the treatment of the physiological details without denying the monstrous reality. It is D?rer's most interesting utilization of a profile. In contrast with the Small Cardinal, and in accordance with other late portrait engravings, this portrait has depth and substance. It is treated as a real tablet, carved and framed after the fashion of Roman tombstones, which were common in Germany, as in Italy and France.Artist:D?RER, Albrecht Title: Cardinal Albrecht of Brandenburg; or, the Great Cardinal Painted in 1501-1550 , German - - graphics : portrait |
|
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
|
|
|
|
