Albrecht Durer: paintings by the artist with names and description. The best paintings of Durera
Albrecht Durer - the famous German artist, painter, schedule, engraver. Born in 1471 in Nuremberg - died in 1528. It is recognized on the world by the artist, master of xylography and the greatest master of the Western European Renaissance. This artist is one of the most mysterious artists with an unusual view of art and worldview. Exploring his work, it can be seen that Durer was a commitment to the Italian Renaissance and put a lot of medieval mysticism into his work. In addition to religious, mythical and mystical paintings, he was engaged in portraits and autoportres. A special place in his art can be given to engravings with which you can find in publication.
Albrecht Dürer studied at his own father, then at the painter from his hometown of Michael Wolhemut. In order to gain the title of Master, he was set in the years of wanderings, which was a prerequisite. For four years, he visited Basel, Colmar and Strasbourg, where he studied the subtleties of the visual art and improved his knowledge. During the trip to Italy, he created his first serious pictures - series of landscapes. A professional artist's hand is already felt here - the clarity of the composition, a clearly thought out plan, smooth mood. In these works, the hand and a kind of handwriting of Durera are already visible. It is worth saying that Durer first in Germany began to study naked nature. It often resorts to the image of the ideal proportions, which he showed on the picture "Adam and Eve".
In 1495, Albrecht Durer created his own workshop, and this was the beginning of his independent and independent work. Some artists and engravers helped him: Anton Coberger, Hans Schoiflain, Hans von Kulmbach and Hans Baldung Green. In the Netherlands, the Great Artist became a victim of an unknown disease. This disease tormented him to the end of life. One story is associated with this: an unknown disease was accompanied by an increase in the spleen, so when he sent a letter to the doctor with a description of the symptoms, then invested the drawing of himself, where he pointed to the spleen and signed "where the yellow spot and what I point my finger, I have hurts there. " Right before the death of Dürer prepared his treatise on the proportions for artists, but on April 6, 1528, he died and was buried at the Cemetery of John in Nuremberg, where his grave is still located to this day.
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Ecce Homo (Son of Man)
Self-portrait Durera in mature years
Adam and Eva
Altar Pumetner
Emperor Maximillian I.
Emperors Karl and Sigismund
Bush grass
Madonna with pear
Maria and Baby and St. Anna
Portrait of a woman
Portrait of Hieronia Holzhuera
Portrait of a young Venetian
Portrait of Dürer's father in 70 years
Holiday of all saints
Durer (DURER) Albrecht, German painter, draftsman, engraver, art theorist. The founder of the art of German Renaughter, Dürer studied the jewelry case at his father, a leaving from Hungary, painting - in the workshop of the Nuremberg artist M. Rolgemut (1486-1489), who took the principles of the Netherlands and German Latestone Art, got acquainted with the drawings and engravings of the worst Italian masters Renaissance (including A.Menty). During the same years, Durer experienced a strong influence of M.Shongauer. In 1490-1494, during the obligatory for the workshop, the wanderings on Rhine, Durer fulfilled several stack engravings in the spirit of late Gothic, illustrations to the "ship of fools" S. Branta and others. Impact on Dürer of humanistic teachings, increased as a result of his first trip to Italy (1494-1495), manifested in the desire of the artist to master the scientific methods of knowledge of the world, to an in-depth study of nature, in which his attention was attracted as the most seemingly minor phenomena ("Herb Kush", 1503, Albertin, Vienna), So and complex communication problems in the nature of color and light-air ("house at the pond", watercolor, about 1495-1497, the British Museum, London). A new Renaissance understanding of the personality of Durer argued in portraits of this period (Self-portrait, 1498, Prado).
The mood of the predeformation era, the eve of the powerful social and religious battles Dürer expressed in a series of engravings on the "Apocalypse" tree (1498), in the artistic language of which the techniques of German late-day and Italian Renaissance art organically merged. The second trip to Italy (1505-1507) even more strengthened the desire of Durera to clarity, the ordering of composite constructions ("Holiday of Rolls", 1506, National Gallery, Prague; "Portrait of a Young Woman", Museum of Arts, Vienna), attentive study of nude proportions Human body ("Adam and Eve", 1507, Prado, Madrid). At the same time, Durer did not lose (especially in the chart) of the view of observation, subject expressiveness, vitality and expressivity of the images inherent in the art of late Gothic (cycles engraving in the "Large Passion" tree, about 1497-1511, "Life of Mary", about 1502-1511, "Small passions", 1509-1511). The amazing accuracy of the graphic language, the thinnest development of light-air relations, the clarity of the line and the volume, the most complex philosophical substitution of the content is distinguished by three "workshops" on the copper: "Rider, death and the devil" (1513) - an image of unshakable debt, durability before testing of fate; "Melancholy" (1514) a holiday of a rosary 1506, a national gallery, Prague as the embodiment of the internal conflict of a merbyss of the creative spirit of man; "Saint Jerome" (1514) - the glorification of humanistic inquisite research thought. By this time, Dürer won the honorary position in his native Nuremberg, gained fame abroad, especially in Italy and the Netherlands (where he made a trip in 1520-1521). Dürer was friends with the prominent humanists of Europe. Among his customers were rich budgets, the German princes, and the emperor Maximilian I himself, for which he among other major German artists fulfilled the drawings with pen to the prayer room (1515).
In a series of portraits of the 1520s (I.Muffel, 1526, I. Holzhuer, 1526, - both in the art gallery, Berlin-Dale, and others) Dürer recreated the type of man of the Renaissance era, imbued with the proud consciousness of self-personality, charged intense spiritual energy and practical purposefulness. An interesting self portrait of Albrecht Dürer at 26 years old in gloves. The hands of the model lying on the pedestal is a well-known reception of creating the illusion of the proximity between the portrait and the viewer. Durer could learn this visual trick on the example of such works as, for example, Leonard Mona Lisa, - he saw her journey to Italy. The landscape, which is visible to the open window, is a feature characteristic of northern artists, such as Jan Wang Ayke and Robert Campen. Durer revolutionized North European art, uniting the experience of the Netherlands and Italian painting. Multilateral aspirations manifested itself in the theoretical works of Durera ("Guide to the measurement ...", 1525; "Four books on the proportions of man", 1528). Dierer's artistic quest has completed the painting "Four Apostles" (1526, the old Pinakotek, Munich), in which the four character temperaments of people connected by the general humanistic ideal of independent thought, willpower, resistance in the struggle for justice and truth are incarnated.
Durer Albrecht (1471-1528), German painter, draftsman, engraver, art theorist. The founder of the art of German Renaughter, Dürer studied the jewelry case at his father, a leaving from Hungary, painting - in the workshop of the Nuremberg artist M. Rolgemut (1486-1489), who took the principles of the Netherlands and German Latestone Art, got acquainted with the drawings and engravings of the worst Italian masters Renaissance (including A.Menty). During the same years, Durer experienced a strong influence of M.Shongauer. In 1490-1494, during the obligatory for the workshop, the wanderings on Rhine, Durer fulfilled several stack engravings in the spirit of late Gothic, illustrations to the "ship of fools" S. Branta and others. Impact on Dürer of humanistic teachings, increased as a result of his first trip to Italy (1494-1495), manifested in the desire of the artist to master the scientific methods of knowledge of the world, to an in-depth study of nature, in which his attention was attracted as the most seemingly minor phenomena ("Herb Kush", 1503, Albertin, Vienna), So and complex communication problems in the nature of color and light-air ("house at the pond", watercolor, about 1495-1497, the British Museum, London). A new Renaissance understanding of the personality of Durer argued in portraits of this period (Self-portrait, 1498, Prado).
"Holiday of all saints"
(Altar Landauer) 1511,
Museum of Art History, Vienna
"Christ among the books" Meeting of Tissan-Bornemian, 1506, Madrid
"Adam and Eva" 1507, Prado, Madrid (the most beautiful image of Adam and Eve !!)
"Self-portrait" 1493
"Self-portrait" 1500
"Madonna with a pear" 1512, Museum of Art History, Vienna
"Praying Maria"
The mood of the predeformation era, the eve of the powerful social and religious battles Dürer expressed in a series of engravings on the "Apocalypse" tree (1498), in the artistic language of which the techniques of German late-day and Italian Renaissance art organically merged. The second trip to Italy (1505-1507) even more strengthened the desire of Durera to clarity, the ordering of composite constructions ("Holiday of Rolls", 1506, National Gallery, Prague; "Portrait of a Young Woman", Museum of Arts, Vienna), attentive study of nude proportions Human body ("Adam and Eve", 1507, Prado, Madrid). At the same time, Durer did not lose (especially in the chart) of the view of observation, subject expressiveness, vitality and expressivity of the images inherent in the art of late Gothic (cycles engraving in the "Large Passion" tree, about 1497-1511, "Life of Mary", about 1502-1511, "Small passions", 1509-1511). The amazing accuracy of the graphic language, the thinnest development of light-air relations, the clarity of the line and the volume, the most complex philosophical substitution of the content is distinguished by three "workshops" on the copper: "Rider, death and the devil" (1513) - an image of unshakable debt, durability before testing of fate; as the embodiment of the internal conflict of the merbyss of the creative spirit of man; "Saint Jerome" (1514) - the glorification of humanistic inquisite research thought.
"Melancholy I" (1514)
"Knight, Death and Devil" 1513
"Four riders of the apocalypse"
"Holiday rosary" 1506, National Gallery, Prague
"Saint Jerome" 1521
By this time, Dürer won the honorary position in his native Nuremberg, gained fame abroad, especially in Italy and the Netherlands (where he made a trip in 1520-1521). Dürer was friends with the prominent humanists of Europe. Among his customers were rich budgets, the German princes, and the emperor Maximilian I himself, for which he among other major German artists fulfilled the drawings with pen to the prayer room (1515).
In a series of portraits of the 1520s (I.Muffel, 1526, I. Holzhuer, 1526, - both in the art gallery, Berlin-Dale, and others) Dürer recreated the type of man of the Renaissance era, imbued with the proud consciousness of self-personality, charged intense spiritual energy and practical purposefulness. An interesting self portrait of Albrecht Dürer at 26 years old in gloves. The hands of the model lying on the pedestal is a well-known reception of creating the illusion of the proximity between the portrait and the viewer. Durer could learn this visual trick on the example of such works, such as Leonard Mona Lisa, - he saw her while traveling to Italy. The landscape, which is visible to the open window, is a feature characteristic of northern artists, such as Jan Wang Ayke and Robert Campen. Durer revolutionized North European art, uniting the experience of the Netherlands and Italian painting. Multilateral aspirations manifested itself in the theoretical works of Durera ("Guide to the measurement ...", 1525; "Four books on the proportions of man", 1528). Dierer's artistic quest has completed the painting "Four Apostles" (1526, the old Pinakotek, Munich), in which the four character temperaments of people connected by the general humanistic ideal of independent thought, willpower, resistance in the struggle for justice and truth are incarnated.
Ecce Homo (Son of Man)
About 1495, Kunsthalla, Karlsruhe
"Four Apostles"
"Portrait of Dürer's father at 70 years old" 1497
"Magic worship" 1504
"Emperor Maximillian I" 1519
"Altar Pumenger" 1500-1504
"Seven seals of the Virgin" 1497
"Emperors Karl and Sigismund" 1512
"Portrait of a young man" OK. 1504.
"Portrait of a young Venetian" 1505
"Maria and Baby and St. Anna" 1519
"Portrait of a woman" 1506
"Portrait of Jerome Holzhuer" 1526
Altar Yabach, the outer side of the left sash "Job, tolerating the humiliation from his wife" about 1500-1503
"Portrait of an unknown in red mantle" (sv. Sebastian) about 1499
"Portrait of Oswald Cream" 1499
"Alliance Coat of Arms of the Dure and Holpe Families" 1490
"Portrait of Felicitas Tucher" diptych, right side 1499
"Portrait of Hans Tukhetor" Diptych, left side 1499
"Mailing of Christ"
"Portrait of a man on a green background" 1497
"Portrait of Michael Wolgemut" 1516
"Apostle Philip" 1516
"Madonna with an apple" 1526
"Kuste Grass" 1503
"Maria with a baby in front of the arche of the gate" 1494-97
"Portrait of Friedrich Wise, Saxon Kurfurst"
"Two musicians"
"Furious St. Jerome"
"Madonna with Schegul"
"Portrait of Barbara Durer, neborn holper" 1490-93
"Portrait of Albrecht Dürer" Father of the artist 1490-93
Quote communication
He showed all his theoretical knowledge and all decreases acquired by many years. According to an old legend, besides the task of artistic, he wanted to solve the psychological task here, presenting the characteristic features of the four temperaments (the picture is also known under this name).
From the portraits of Dürer, excess of the named above, let's call: Emperor Maximilian (1519, in Vienna), M. Volgemut (1516, in Munich), Hans Imghef (1523, in Madrid), Cleberger, Muffel, Golzär, Fugger, and others.
Upon returning his homeland, the artist Ttyttyimo worked until the death of death, which occurred in Antwerp on April 6, 1528
All the wealth of creative fantasy and the abundance of Dürer's thoughts opens to us in his drawings and engravings. The first, starting with the easy sketches of the pencil and pen, and ending with carefully filled with watercolors, are available in the Berlin Museum (for example, "Mill"), in Vienna ("Costumes" and "Passion of the Lord"), London, Munich ("Prayerman imper. Maximiliana "), Braunschweig, Bremen and other places. The value of Dürer in the art of engraving is huge. He introduced in the technique of engraving on a tree, limited to him with almost one essay, which then was painted, new techniques, who gave the opportunity to receive a print that do not need to be illuminated.
The most important of his engravings on the tree: "Apocalypse" (1498, 16 sheets), large "passions of the Lord" (1500 - 1610, 12 sheet.), "Life of Our Lady" (1504 - 1505, 20 l.), Small "passion of the Lord (1509 - 1510, 37 d.), "The triumphal gate imper. Maximiliana "(1515, a huge sheet, for about 3 m in a square, typing with 92 separate boards); between individual sheets: "St. Trinity "(1511)," Bathing of men "and more .. Engravings Durer on copper, just like xylographic, differ in variety and depth of thought, light, clear mood, reflection of the comprehensive talent and inexhaustibility of fantasy.
Connecting in his works of engraving engraving with grabshtyhel and needle, he brought their technique to a high degree of perfection, and a small silver tone of his engravings and the subtlety of work eclipsed everything created in this way before its appearance. It came to us more than 100 of his copper engravings. We call some, the best of their numbers: "Our Lady" (1511 and 1518), "B. with a pear "," B. with baby "," Melancholia "(1514)," Knight, Death and Devil "(1518), portraits: Cardinal Albrecht Brandenburg, Kurfürst Friedrich Wise, Vilibald Parkheimer, Melanchton, Erasmus Rotterdam and others. Dürer had an important benefit of art and as a writer -theorist. His "Underwegsung der Messung, Mit Zirckel and Richtscheydt, in Linien Ebnen und Gantzen Corpore" (Nurenb. 1526) gives excellent instructions on the perspective. "Von Der Menschlicher Proportion ETS" (Nurenb. 1528), an essay on fortification and many other writings remaining in manuscripts had, in due time, great importance.
In his treatises about painting Durer tries to reduce the drawing to famous mathematical principles. The value of Dürer is not limited, however, the artistic area.
His humane, strictly moral personality, his children's naivety, the high nobility of his ideals, not only reflected in all of them created, but also confirmed by the testimony of his famous friends and contemporaries, Pirkheimer, Melanchton and Camera, so strongly influenced by a reflective and raising way into humanity, That Dürer can be found to the largest personalities who contributed to the progress and the cultural ideals that weigh the height.
A. Durer (1471-1528) - the great German artist, and in recent years of life and theoretics of art. His biography and creativity are closely related to the era of the Renaissance. The works of Albrecht Dürer and today attract many connoisseurs of painting. Want to know more about him? The life and creativity of Albrecht Dürer are presented in this article.
short biography
His father was a leaving from Hungary, silver deeds master. Albrecht first studied at his father, and then Mikhael Volhegemut, painter and Engrar from Nuremberg. 1490-1494 - "Years of Wanders", mandatory in order to get the title of Master. Albrecht spent this time in the cities of the Upper Rhine (Strasbourg, Colmar, Basel). Here he entered the circle of bookprints and humanists. It is known that Durer wanted to be improved in the metal engraving at M. Schoguera in Colmar, but did not find him alive. Then Albrecht began to study the work of this master, communicating with his sons, who were also artists too.
In 1494, Albrecht Durer returned to Nuremberg. His biography and creativity were noted at this time important events. It was then that the marriage was held on Agnes Frey, as well as the opening of his own workshop. After a while, Albrecht decided to make a new journey, this time choosing Northern Italy. He visited Padua and Venice in 1494-95. In Venice, Durer traveled and in 1505, stayed there until 1507. Albrecht acquaintance with I refers to 1512. Apparently, at the same time Dürer began working on him, until the death of Maximilian, which occurred in 1519, it is known that Albrecht also visited the Netherlands. In the period from 1520 to 1521, he visited such cities as Brussels, Antwerp, Ghent, Brugge, Malin and others.
Creativity Durera
And the work of which coincide with the flourishing of German revival, could not remain aside from the trends of his time. It was complicated, largely a disharmonary period. His character imposed a mark on all types of art. Revival in the work of Albrecht accumulates in itself the originality and wealth of German artistic traditions. They manifest themselves in the appearance of Durer characters, distant from beauty from the point of view of the classic ideal. In addition, the master prefers everything sharply accurate, pays great attention to individual details. Huge importance for Albrecht has at the same time contact with the art of Italy. The creativity of Albrecht Dürer was noted by tried to comprehend the secret of his perfection and harmony. Durer is the only representative who for versatility and focus of interests, the desire to comprehend the laws of art, create a perfect proportion of a person's figures can be put in one row with great masters of Italian revival.
Pictures
The creativity of Albrecht Dürer is diverse. It was gifted as a draftsman, engraver and painter. At the same time, the engraving and the drawing occupy him sometimes even leading place. More than 900 sheets numbers the heritage of Dürera-Draftsman. According to the manifold and extensity, it can be compared only with the creations of Leonardo da Vinci. Apparently, the drawing was part of the daily life of the master. Durer perfectly owned all the graphics techniques of that time - from coal, watercolor, to a cane pen and a silver pin. As for the Italian masters, the drawing was for Durer the most important stage of creating the composition. This stage included the studies, sketches of heads, legs, hands, drapes.
For Düreir, the drawing was a tool with the help of which he studied the characteristic types of Nuremberg fashion, elegant cavaliers, peasants. The famous works of Albrecht Dürer - Watercolor Wizard "Hare" (in the photo above) and "piece of turf". They are made with a cold detachment and such with such a simpleness that could become illustrations for scientific codes.
A series of landscapes
The first significant work of the master is a series of landscapes of 1494-95 years. These works of Albrecht Dürer are performed by watercolor and gouache during his trip to Italy. They are carefully balanced, thoughtful compositions, with spatial plans, smoothly alternating with each other. These works of Albrecht Dürer are the first in the history of European art "clean" landscapes.
"Christmas", "worship of the Volkhvov", "Adam and Eve"
A clear smooth mood, the desire of the author to the harmonic equilibrium of rhythms and forms - these are characteristic features of Dürer's painting from the end of the 15th century before the second decade of the 16th century. This altar "Christmas", made about 1498, and the work of the "worship of the Magi", in which Durer unites the group of three Magi and Madonna smoothness of silhouettes, calm round rhythm, as well as the motive of the arch, repeating repeatedly in the architectural scenery. In the 1500s, one of the main themes of Albrecht's creativity becomes the desire to find the ideal proportions of the human body. He is looking for their secrets, drawing naked female and men's figures. Note that Albrecht first in Germany began to study nude nature. These searches were summarized in the engraving of 1504 "Adam and Eve", as well as in the largely named scenic diptych, held about 1507.
"Worship of the Holy Trinity" and "Holiday of Rolls"
The most difficult work, ordered harmoniously picturesque compositions from a set of figures have already performed Albrecht Dürer during the years of creative maturity. The famous works of it include the "Holiday of Rosal" created in 1506, in 1511 - "Worship of the Holy Trinity". "Holiday is a rosary" is one of the biggest works of Durera (161.5 x 192 cm). In addition, it is one of the most major in the intonation of paintings. The work is close to the art of the Masters of Italy not only by motifs, but also with their life force, sprouting paints, high-ripped images (mostly portrait), equilibrium composition, latitude of the letter. In the picture called "Worship of the Holy Trinity", which is a small altar work, rhythmic semicircles, which are echoing with the arched end of the altar, combine the angels soaring so far in the heavens, the fathers of the church and the sleeps of saints. This picture resembles the "dispute" of Rafael.
Early portraits
Without portraits, it is difficult to imagine the work of Albrecht Dürer. Pictures of it in this genre are numerous and very interesting. Albrecht is already in early work, made around 1499 (the portrait of Oswald Cleel) appears to the mastering master. It exceeds the inner energy of the model, the originality of character. The uniqueness of Albrecht Dürer consists in the fact that the self portrait occupies a leading place in the early period of his portrait creativity. Back in 1484, he created a drawing with a silver pin represented at the beginning of the article. Here Albrecht depicts a 13-year-old child. Already at that time, Dürer's hand was led by a tag for self-knowledge, which was further developed in the first three picturesque autoportres. We are talking about work 1493, 1498 and 1500. In the last work (photo is presented above) Albrecht is shown strictly in the FAS. Framed with a small beard and long hair his right face reminds us of the images of the Christ-Pantox.
Engravings
The creativity of Albrecht Dürer (1471-1528) is wondering that he performed engravings equally successfully and on copper, and on the tree. Albrecht turned engraving, following the Schongauer, one of the main types of art. In the works of Dürer, he received an expression frowning, restless spirit of his creative nature, as well as dramatic moral conflicts, who worried him. The first large-scale graphic series, consisting of 15 engravings on the themes of the Apocalypse, has already become a sharp contrast to the wizard and calm early pictorial works of the master. These works performed on the tree, Albrecht created in 1498. Durer in his engravings is much larger than in the picturesque canvases, relies on German traditions. They manifest themselves in the tensions of angular, sharp movements, excessive expression of images, rhythm of jamming, rapid lines and broken folds. The image of the fortune of the Nemesis cutting engravings, relating to the beginning of 1500, is terrible. This engraving is considered one of the best works of Dürer.
"Life of Mary", "big passion" and "small passions"
In the Graphic Cycle "Life of Mary", created about 1502-05, the author's interest to genre details are noticeable, as well as the abundance of details - features characteristic of the German artistic tradition. This graphic cycle is the most clear and calm in mood. Two others dedicated to the passions of Christ are distinguished by dramatic expression. These are performed on the "big passion" tree (about 1498-1510), as well as two series of engravings on copper "small passions" (the years of creation - 1507-13 and 1509-11). These works of Dürer were most famous among his contemporaries.
Triptych 1513-1514.
The engraving of 1513 "Knight, Death and the Devil", as well as two works of 1514 ("Ieronim in Poklye" and "Melancholia") occupy an important place in Albrecht's heritage. They form a kind of triptych. These works are made by master with virtuoso subtlety. They are distinguished by rare figurative concentration and laconicism. Apparently, Dürer did not think of creating them as a single cycle. Nevertheless, these work unites the moral and philosophical subtext, a lot of work is devoted to interpretation today). Apparently, the Treatise of "Guidelines of the Christian Warrior" E. Rotterdamsky was inspired by the author of an eloctural harsh warrior, who moves to an unknown goal, despite the devil following him on his heels, as well as on the threat of death. Warrior is represented against the backdrop of a rocky wild landscape. The creativity of Albrecht Dürer is not always easily perceived. A brief content of the aforementioned treatise is important to know for understanding the image of a warrior.
Saint Jerome (in the photo above), the whole went to scientific classes is the personification of contemplative life and spiritual self-profit. The majestic winged melancholy, immersed in his gloomy reflection, is represented against the background of the chaotic heaviness of the characters of the rapid-auction time and sciences, armor of the craft.
It is usually interpreted as the personification of the creative merry spirit of man. It should be noted that the Humanists of the Renaissance were found in people having a melancholic temperament, the "divine obsession" of the genius, the embodiment of the creative principle. Therefore, we can say that the Creativity of Albrecht Düreir is within the framework of the general trend. Briefly describe and late his work.
Late work
Durer after 1514 worked at the courtyard of Maximilian I (his portrait performed by Albrecht is presented above). At this time, a lot of official orders Albrecht Durer. The works created by him demanded great skills, but the most time-consuming of them was painted lithograph, made on 192 boards. This work is called "Arch Maximilian I". Over her creation worked, except Durera, a large group of artists. After a trip to the Netherlands, perfect in 1520-21, Albrecht began a new creative rise. At this time, many runaway sketches appeared. In addition, the works of Albrecht Düreir were replenished with a number of excellence. The list of them is as follows: made in 1520 by coal as well as the work of 1521 "Luka Leidensky" (made by silver pencil), "Agnes Durer", when creating a metal pencil, and others were used.
Portraits of the 1520s
The portrait in the 1520s becomes the main genre in the work of Durera. At that time, created images in engraving on copper of prominent humanists of their time Albrecht Durer. The main works are as follows: In 1526, the portrait of Philip Melanchton, in 1524 - Willibald Pirkhaeim, in 1526 - Erasmus Rotterdam. In the painting in 1521 a "portrait of a young man" appears, in 1524 - "Male Portrait", in 1526 - "Jerome Holzhuer" and other works. These small works are distinguished by an impeccable composition, classical completion, silhouette chasing. They are spectacularly complicated by the outlines of huge velvet beret or widespread hats. Composite center of these work - a person given by a close-up created by subtle transitions of shadows and light. In barely noticeable facial expressions, in the view of widely opened eyes, in the outlines slightly curved in a smile or semi-open lips, in an energetic pattern of cheekbone and movement of frowning eyebrows, you can consider traces of tense spiritual life. Open Albrecht in his contemporaries The strength of the Spirit acquires a large scale in the diptyx "Four Apostles" (in the photo below), the last picturesque work of the master (1525 year). She was written by Durer for the Nuremberg Town Hall. The huge figures of the evangelist Paul, Peter and John, who personify, according to the testimony of the Master's contemporaries, 4 temperaments.
Theoretical work, the value of creativity
In recent years, Albrecht has issued theoretical work: a guide to measuring the line and circulation (in 1525), to strengthen fortresses, castles and cities (1527), and in 1528 the work "four books about the proportions of man" appeared. Albrecht Durer, the creativity and fate of which were considered by us, died in Nuremberg on April 6, 1528.
Durer greatly influenced the development of the entire German art of the first half of the 16th century. His engravings and in Italy enjoyed tremendous success - even their fakes were produced. Many Italian artists experienced the impact of his work, including Pordenone and Pontoramic.