The Life and Art of Albrecht Durer

The Life and Art of Albrecht Durer

Language: English

Pages: 0

ISBN: B0063LQ77A

Format: PDF / Kindle (mobi) / ePub


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the sinful sleep, the pictures showing a farmer asleep by his plow, a burgher asleep by a crucifix to which he ought to pray, a woman asleep by her distaff; the last of these three types (figs. 103 and 210) was so popular that Sebastian Brant adopted it for his "Fulheit" (Laziness) with the kind-hearted amendment that the lazy spinner burns her leg in her sleep. Consequently the dramatic representations of Melancholy show a woman asleep by her combined with a man asleep at a table or even in

enlivened, however, by a studied contrast between the rising lines of the lapels and the descending curves of the wide sleeves. The general impression is therefore one of composure without stiffness. The comparatively rigid posture suggests, not archaic constraint but rather EARLIEST PAINTINGS potential energy disciplined Jacopo de' Barbari, who sufficiently impressed However, by unassuming this portrait to use it as by and self-possession. It is amount of a model for elsewhere

with grandeur. Figures and groups are neither displayed in "lone splendour" nor scat tered about the picture space, but are distributed according to what may be called a sym phonic principle. In the Rejection of Joachim's Offering (297) the five principal characters the mournful St. Ann, the humiliated Joachim, the High Priest and his assistant, and Joachim's more fortunate counterpart, a brutish father proud of his little boy are set out against an anonymous crowd like a quintet of

Fondaco dei Tedeschi. One of these clubs of Germany; comprised the merchants from Nuremberg, the other those from different parts and within the latter the Augsburg element had achieved more and more prominence, reaching a climax with the meteoric rise of the house of Fugger. It is significant that no one disputed chambers nos. i and 2 in the family the privilege of renting the most desirable Fondaco dei Tedeschi when it had been rebuilt after the fire of January 27, 1505. As we with this to

1508. Why Frederick the Wise should have insisted on a subject which for all we know could not particularly appeal to his artistic tastes can be inferred from the iconography of the picture itself. Almost exactly ten years before Diirer had represented the Martyrdom of the Ten Thousand in a large woodcut (337, fig. 69), and many features of this earlier composi which shows that Durer worked not from the woodcut but from pre paratory drawings recur both in the picture of 1508 and in a

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