Christ Shown to the People - Albrecht DÜRER
Christ Shown to the People - Albrecht DÜRER (1471-1528)
Etching copy of the woodcut (Bartsch 9). Sight: 270 x 380 mm. Late edition proof on vellum.
Albrecht Dürer 21 May 1471 – 6 April 1528),[4] sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg.
Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, Fra Luca Pacioli and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are stylistically more Gothic than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the burin expanded especially the tonal range of his engravings; well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome in his Study (1514), and Melencolia I (1514). His watercolours mark him as one of the first European landscape artists, and with his confident self-portraits he pioneered them as well as autonomous subjects of art.
Dürer's introduction of classical motifs and of the nude into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics for linear perspective and body proportions.
Christ Shown to the People - Albrecht DÜRER (1471-1528)
Etching copy of the woodcut (Bartsch 9). Sight: 270 x 380 mm. Late edition proof on vellum.
Albrecht Dürer 21 May 1471 – 6 April 1528),[4] sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg.
Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, Fra Luca Pacioli and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are stylistically more Gothic than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the burin expanded especially the tonal range of his engravings; well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome in his Study (1514), and Melencolia I (1514). His watercolours mark him as one of the first European landscape artists, and with his confident self-portraits he pioneered them as well as autonomous subjects of art.
Dürer's introduction of classical motifs and of the nude into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics for linear perspective and body proportions.
Christ Shown to the People - Albrecht DÜRER (1471-1528)
Etching copy of the woodcut (Bartsch 9). Sight: 270 x 380 mm. Late edition proof on vellum.
Albrecht Dürer 21 May 1471 – 6 April 1528),[4] sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg.
Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, Fra Luca Pacioli and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are stylistically more Gothic than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of the burin expanded especially the tonal range of his engravings; well-known engravings include the three Meisterstiche (master prints) Knight, Death and the Devil (1513), Saint Jerome in his Study (1514), and Melencolia I (1514). His watercolours mark him as one of the first European landscape artists, and with his confident self-portraits he pioneered them as well as autonomous subjects of art.
Dürer's introduction of classical motifs and of the nude into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics for linear perspective and body proportions.