Description of the painting Dürer Grass. Presentation to the lesson reading a hike in the "Museum House". Film

Sections: Primary School

Churakova N.A., Literary reading: Tutorial for grade 3: in 2 parts. Part Two, Pages: 41 - 42.

The purpose of the lesson:

• educational: lead a line associated with the statement of poetry as a special look at the world (understanding of the poet of beauty and fragility of the world; the desire of the poet to preserve, protect the world from destruction: on the material of the poem, I. Bunin "The thick green spruce by the road ...", works A. Durera "Hare", "Herbs"); form the ability to compare and compare pictures and poems, picking up quotes and figurative expressions to describe the picture; continue the formation of expressive reading skills;
• developing: develop students spending, emotional attitude to works of art and ability to perceive the beauty of the poetic word, to regain their impressions;
• rising: to educate interest in literary creativity, careful attitude towards nature, instill a love for his native land.

Equipment: literary reading, textbook for grade 3; Portrait I. Bunina; words of gratitude.

Multimedia equipment: reproductions with the image of nature; The title of the topic "The world needs our defense"; Portrait I. Bunin; Vocational and lexical work, reproduction with the image of the Yelnik and deer; graphic work on poem; homework.

During the classes.

1 slide opens (literary reading lesson Appendix 1)

1. Organizational moment.

– Good day. I am glad to meet you. Today is a wonderful day. Smile to each other. I am pleased to start a lesson.

- I hope you will be active. I am waiting for beautiful answers from you.

2. Actualization of reference knowledge.

2 presentation slides (3 - 4 reproductions of nature)

- What would you like to talk about today at the lesson, looking at these landscapes?

(about nature, plants, about animals, rivers, etc.)

- What do you think this amazing world of nature needs our defense? And why?

- You are right: the world needs our protection.

3 slides (the name of the lesson theme)

- We will go to the world that needs our defense.

- I think that I made the right choice by going with you on the road.

- And what will take with you on the road?

(I get out of the backpack different items: a slingshot, notepad, magnifier, pen, brush, book, binoculars, air ball, cuckoo .... The guys choose what is needed to observe nature.)

- What person is able to be a defender of nature?

(Kind. Attentive. Strong. Loving nature. Having a heart and soul.)

- Here is a person who loves nature with all the heart and soul who can defend nature, can write wonderful poems and amazing paintings.

3. Preparation for perception.

I invite you to get acquainted with the wonderful works of art ...

4. Working with the "Art Gallery".

Work with the picture of A. Dierer "Zayats" (hall 8).

4 slides (painting by A. Durera "Hare")

- Let's visit the "picture gallery" and consider the reproduction from the picture in the technique of the watercolor of the German artist Albrecht Dürer.

- Consider carefully a hare.

- What notifies the artist and portrayed what features of his appearance, hasty, state?

(What ears, mustaches, claws, etc.)

- What do you hear?

(Heart beats, the wind is noise, the hare breathes ...)

"Where did the artist saw the hare and depicted?"

- The artist depicts a hare on a neutral background (that is, not in the room, not on the grass, but on the "scratch"). And why?

- And how do you think in what setting the hare will be the cozy all, where he will feel calm, "how at home"?

(Of course, in the grass)

Working with the picture A. Dürer "Herbs" (Hall 8).

5 slides (painting by A. Durer "Herbs")

- Consider the grass attentively on reproductions from Dürer's picture.

- What plants did you find out?

(Dandelions, already hazardous, with bright yellow stalks and cut-out leaves; Mattik meadow, small flowers of which are hiding in spikelets that make up the woven sweaters; fleshy leaves of the plantain, illuminated by the sun; sometimes, the narrow, the thinnest and long leaves of which are reminded of onions.)

- Why did you recognize these plants?

- (These plants grow in our area.)

- Well done guys that they know the plants so well.

- Imagine a moment that summer came, and we have found yourself on this meadow.

- What sounds heard?

(Dry grasshoppers. Slate grass. Singing birds.

- Can you feel the features of the air?

(Smells herbs. Air warm, summer.)

- Do you feel the proximity of the water?

(High, juicy plants)

- Is it an early morning, day or twilight starting?

(This is twilight. Dandelions closed)

6 slides opens (2 pictures together)

Generalization in the picture.

– Does the artist love the world of nature, judging by the two reproductions?

(Albrecht Durer loved the nature very much.)

- You can imagine how to love and appreciate the world of nature to write every epics of herbs with such attention, every wool on the holy skirt?

-What did the artist show us?

(Beauty of Nature)

- What makes these reproductions make them think about?

(About the careful attitude towards nature. About love for animals.)

"Durer believed that there was nothing insignificant in the world: every tiny detail of life spiritualized and full of meaning.

5. Thematic Fizkultminutka "Travel to Forest"

6. Reading and analyzing the poem I. Bunin "The thick green spruce by the road ..." (p. 42.)

– Nature is enthusiastic, not only artists, but also poets, writers and me with you.

7 slides (portrait and years of life I.A. Bunina)

- Guys! That work that we will read today, keeps the experiences, thoughts and soul of the poet who wrote them.

- Ivan Alekseevich Bunin was born on October 10, 1870 in Voronezh, in the old nobility family. He traveled a lot and knew Russian well, English, French. For poems, the pounin is characterized by sincere intonation. They reflected the love of the poet to Russia, native land.

- Open tutorials on page 42.

- Listen to the poem I.A. Bunin and try to understand the attentive and careful attitude of the poet to the world of nature.

(Expressive reading poem.)

- Did you like this poem? Why?

- What mood caused this poem in you?

(joy, feeling admiration)

- What causes this joy in you?

- What words helped the poet to convey this mood?

Oh, how easily he left the valley!
How mad, in excess of fresh strength,
In the rapidness of the joyful-animal
He worn beauty from death!

- Read the poem yourself, find the difficult words for you and emphasize them.

Dictionary and vocabulary work.

(work in pairs)

- Connect the word and its value.

- Check if you performed the task correctly.

8 slides (1st, 2nd, 3rd, 4th stanza in turn)

Ylannik - the forest in which the ate grown.
Tonky deer - deer, who has thin legs.
Grave horns - heavy horns

Tooth scroof - tooth gnaw
Ostinka is a diminishing form of the word "Ast": a thin long bristle on the colosue from cereals; In this case, we are talking about coniferous needles.
Yolka Makushka - Top Tree

Dimensional trail - a definite measure for a trace
Dog Gon - (drive - hunt, drive.)

Valley - open area
Fucking - struggling
In excess of fresh strength - a lot of new forces
Swiftness - speed

- Which of you fulfilled the task without errors? - Come up with this poem.

("Handsome deer", "Beauty wins death," "The dense green spruce by the road ...", "Beauty")

(It deprives the reader the opportunity to penetrate the feeling of admiration for the beauty of the beast.)

Conversation.

- Why does the poem begins with the description of a dense green frying?

- Before us unfolds the calm life of the forest, beautiful in his ordinary.

Thick green spruce by the road
Deep fluffy snow.

9 slide opens (fannik landscape appears)

- What do you think is the hero really - the story of this poem watched the events that he described?

- How did he understand what happened in the forest? (In the footsteps.)

- What traces did he see? Whose traces were there? (Deer traces.)

- How do deer traces change? ("And suddenly - jump!")

- Whose traces of snow appear? (Hunting dogs)

- Where does the trace lead from the forest? (In the meadow, in the valley)

- What kind of landscape now in front of us at the end of the poem?

(Verbal drawing of children.)

10 slides (deer)

- What ended the chase?

(Deer is saved.)

- What is the beauty of deer?

("Mighty, ton-legged, throwing a grave horns to his back")

- What can be said about the storytellor, who was able to restore the events in the footsteps? (He is an observant person.)

- Does he love in nature?

- Where and why is the fracture of the mood? Where is the culmination of this poem? Specify exactly the line.

("And suddenly - a jump!" - the meaning of the fight of life and death, beauty and death.)

- There is an opinion that two people get along in a lyrical hero: a poet and hunter.

- Who is the lyrical hero? (Definition)

11 slides (definition "lyrical hero")

The lyrical hero is a narrator hero or an artistic "double" of the author-poet, growing from the text of the work, as a person endowed with certain, the individuality of fate, psychological disclosure of the inner world.

- The lyrical hero of the poem, the hero of the narrator is not named, but constantly present. After all, if you carefully re-read the text, it turns out that the tonler handsome man with grave horns, this mighty, white deer, exists only in the imagination of the lyrical hero, for he is in the foothold of what is happening.

- Can you detect it in the text?

- Who wins in the soul of the lyrical character: a poet or hunter?

Work in groups.

(I distribute words-mood cards.)

(Sadness, loving, waiting, sadness, joy, peace, anxiety, resentment, delight, admiration, ease, excitement, observation, pleasure, knowledge, disappointment ...)

- Distribute these words to each person.

One person overlook the board and attach words.

(There is a collection of words that fell and a poet and hunter.)

- Indeed, the poet wins. The poet expressed his attitude to the salvation of a deer in the last rows: "He worn from death from death!" In the salvation of deer, he sees more than in the preservation of the life of the animal, - the salvation of beauty.

6. Work on the expressive reading of the poem.

- What lines are read slower, and what are the fastest?

Expressive reading poem with placed pauses.

12 slides (poem with broken pauses)

7. Reflection (lesson)

– What was especially interested in each of you at the lesson?

(I really liked the pictures of Albrecht Dürer. I liked the poem I. A. Bunin.)

(The artist and poet love the world of nature and teach us this.)

- What excited you? What did you think about?

(Such people can love and appreciate nature, so they painted amazing paintings with paints and words.)

- This poem is written 100 years ago, but today, almost a century, we study this poem and admire these pictures. Why?

- (The desire to save beauty from death is still relevant, and therefore the beautiful poem of the Bunin sounds very modern.)

- I thank you for work in the lesson. In memory of this lesson, I would like to give you these notepads with the image of nature and handles. And when the poet or artist will wake up in your souls - be sure to bring your feelings in a notebook.

8. Homework.

13 slides (homework)

Readers: Expressive reading poem I. Bunin.

Artists: make two illustrations to this poem in notepad.

Poets: to find or compose poems about nature.

14 slides (gratitude)

* * *
Dense green yelnik at the road I.
Deep fluffy snow. II.
They went to them deer,I. mighty, I. tonky, I.
Back to back grave Horn. II.

Here track his. II. Here Natoptal tropes,I.
Here christmas tree Bent and white tooth scribble - II.
And a lot of conifers cross, I.ostinok. +
Calked from the macushkin on snowdrift. II.

Here again track, I. measured and rare I.
AND suddenly – II.bounce! IIIAnd far in the meadow +
Loses doggy – II. and things, I.
Obuchy horns on run ... III

ABOUT, I. as easilyhe leaving the valley! III
how ramane, I.in excess fresh forces, I.
In swiftness joyful animal +
It beauty from of death Brew! III

The presentation will help to fully present the picture of A. Dürer "Grass", will show that although Durer wrote large multi-color paintings for temples, but all this did not interfere with him to admire ordinary, nothing remarkable on a superficial view of herbs. Only such an attentive attitude towards each blade, which is under his feet, allows the artist to discover its feature, uniqueness, discover beauty for future generations in simple.

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A. Dürer "Herbs" The artist Durer wrote a large multicolor paintings for temples, but all this did not prevent him to admire ordinary, unremarkable, at first glance, herbs. The presentation was performed by the teacher of primary classes of MBOU Lyceum №6. Essentuki Shevchenko N.A.

A. Durer "Herbs" on the stem can be gliding with a finger, you can get dirty about sticky milk, and about the sharp piece of cut. - Do you remember how the grass smells? Do you imagine the smells of the middle of the middle of the summer? - Consider a fragment of "herbs" What associations when viewing this piece of nature do you have?

Pay attention to different lights: the ray of the sun hit some leaves of the grass, and some were in the shade. And all this was noticed by the artist.

Such an attentive attitude towards each blades, which is under your feet, allows the artist to discover her feature, uniqueness, discover beauty for future generations in simple.

Already in life Albrecht Dürer (1471 - 1528) "Great between the most great"artists of their time not only at home, in Germany, but also beyond. The glory of an outstanding painter, graphics and engraving did not die after death. In the history of the visual art, even a special term appeared - "Dürorsky Renaissance".

In the work of Dürer with the greatest artistic force and originality, a tendency was embodied with the greatest artistic art and originality - a combination of medieval national traditions with the need for Renaissance the need for rationalistic knowledge and realistic image of the world around. The spiritual tension of the Reformation Epoch and the balanced beauty of antiquity, skillful sophistication and German simplicity and the coarseness was reflected in its original style.

From the craft of engraving to the art of engraving

Durer was the third of 18 children in the family of gold and silver maststers from Nuremberg Albrecht Dürer Senior. Between 1486 and 1489. He was given to the disciples to the artist-engrave Mikhael Wolgemut, who collaborated with a major typographer A. Koberger, whose bookstores were scattered throughout Europe.

The desire of parents to make their son engraver was quite understandable. With the emergence of typography, this work was very popular and well paid. In the workshop of Wolgemut, the novice artist studied the techniques of engraving and drawing, as well as, making copies, acquainted with samples of European visual art. Here, a young man saw the work of the famous German engraving on Martin Schongauer's cop.

In the time of Düreir, painting, sculpture, and even more so the graphics did not turn on, in contrast, for example, from astronomy or philosophy, "Free arts", And they were considered a craft. To be accepted into a handicraft workshop, the artist was supposed to prove his right to be called a master, by the city of the city outside the city and confirming the professional consistency with its own products. In 1490 - 1494.

Durer made a journey required to get the title of the Master. Significant information about the artist's route is not preserved. It is assumed that he intended to meet with Schongauer, who, however, died shortly before his arrival. For a long time, Durer spent in Basel, making the engraved type Publisher-typographical publisher * on a tree illustration to Comedy, Tournah Knight, Joffre de la Tour Landry and "Ferrakov's ship" Sebastian Brant.

The book of Sebastian Brand "Ship of Fools", having riselled the morals of contemporaries, was a befelector of the 1490s. Not least thanks to Dürer illustrations. Apparently, in this final period of apprenticeship, the artist acquired the skills of engraving on copper and met the etching technique.

In 1496, Durer creates a series of stunning stress drama engravings to the apocalypse. The end of the century is always, and especially in the Middle Ages, binds to the consciousness of people with the expectation of the thorough end of the world. Four riders of the apocalypse should have appeared in 1500 g.

Durer wrote a whole series self-portrait. One of the most beautiful dates from 1498, then the artist was 28 years old. Dear Skyogolsky Clothing, Complete Dignity The face, attentive look - this is the Renaissance Age, believing mind and beauty.

Journey to Italy

At the turn of the XV-XVI centuries. Durer made his first trip to Italy. Watercolor landscapes of the artist allow you to restore its route: he drove through the outsburgh and Innsbruck, passed through the Brenner pass and finally arrived in Venice. Here Durer met with famous brothers Bellini and Jacopo de Barbari, whose advice he began to study proportions.

Upon returning from Italy, Durer opened his own workshop and began selling his own engravings. In addition, during this period, he created several altar paintings for which, in accordance with Dutch and Italian samples, he chose the form of triptych. It is known that one of the customers was Nuremberg's Synovnik Pumenger, whose sons the artist captured in the form of knights on sash depicting St. George and St. Eustafia.

Durer is not only an outstanding painter and engraving, but also a wonderful watercolorist and schedule. It left more than 1000 drawings and watercolors. Basically the artist worked as silver pencil, brush, ink, feather and coal. Watercolor landscapes of Dürera are characterized by amazing accuracy. You can reliably determine the place captured by the artist, set the time of year and day.

Most watercolor scenery sketches Durer did in 1494 - 1496, especially much - during the first trip to Italy. He was 23-25 \u200b\u200byears old.

Sculpture plastic figures resembling sculptures, anticipate the style characteristic of the later works of the wizard. Among the works of the stroke of ages stands out self-portraitwritten by the artist in 1500 g

Self-portrait Dürer 1500 is one of the most famous works in world portrait painting. In it, the artist is not just a person who took place, but the prophet, Messiah. His symmetric frontal composition resembles medieval images of Christ. This picture can be viewed as a wizard thinking about the fate of the artist and its place in the world. The man is wise, who has passed the long way of suffering and searches, such is the Creator in the understanding of a mature Durer.

Virgo Maria in the image of Durera (1503) is rather an ordinary town and the contemporary of the artist than the canonical image of Our Lady.

The contemporaries of Durer, apparently, was perceived primarily as an engrave. In the creative heritage of the artist 350 engravings on a tree, 100 copper engravings and several etchings **. Dureru managed to achieve the unity of space and body volume of characters and achieve almost photographic accuracy in their engravings.

In the graphic and watercolor works of Durer, the Renaissance admissance of the beauty of the surrounding world, even in the most "non-liberty" of its forms, combined with German care and attention to detail. One of the first, emphasizing the independent value of such works, the artist began to date and sign his drawings and etudes. "Herbs" (1503) Drew Durer with a biologist accuracy.

Picture "Adam and Eve" Was written in 1507 Drawing this picture, Durer showed a very non-standard technique, as it shows not one whole picture, but two engravings. The picture was painted with oil paints. In size, these engravings were quite cumbersome and held a lot of space, their dimensions were 200 m. At 80 m. This work was exhibited in the National Prado Museum. The artist drew the picture specifically for the altar, but unfortunately he was never completed.

The picture "Adam and Eve" and its plot was created in the spirit of ancient time. The artist stressed inspiration during his travels in Italy. People depicted on the canvas are completely naked, everything is written to the smallest details, even their growth, they are depicted in their true magnitude. This is very important due to the fact that the Bible Adam and Eve are the progenitors of mankind, the first people who have come from heaven to Earth and who have granted the beginning of the race of people.

The Bible says that Adam and Eve had many differences between themselves, which is why the author depicted them separately. But looking attentively, you can see that the picture is a single whole - Adam holds the branch, and Eva is a fruit that was hung before her. A snake drawn next to the people who pushed people to break the sacred fruit. Even in the picture you can see the sign on which the author and the date of writing the canvas are specified.

In 1508 - 1509. Durer worked on the creation of one of his best religious works - "Altar Geller". Unfortunately, the central panel belonging to the brushes of the artist himself and portrayed the Ascension of Mary, reached us only in the copy. However, by numerous preparatory drawings, it can be judged about what the impression should this grandiose composition should be produced.

Master

By the end of the first decade of the XV century. The artist gained recognition and material well-being. In 1509, Durer becomes a member of the Nuremberg Great Council, which was the privilege of noble citizens. As a master engraver, he does not know himself equal. In 1511, the artist publishes a series of engravings on a tree: "Large and small passions", "Life of Mary", "Apocalypse".

In 1515 he receives an order from Emperor Maximilian and performs allegorical humanistic cycles - "Triumphal Arch" and "Procession". Durer proved to be the only artist who Maximilian prescribed a lifelong annual rent in 100 florins.

Rhino shook the Europeans XVI century. He was presented in 1512. Portuguese king Emanuel Pape Roman. Made in the port of the sketch of the monstrous beast passed Durer, who completely reliably reproduced the animal on his engraving "Rhinoceros" (1515). The engraving is made on a tree. This image was a grand influence on art.

Durer endowed the rhinoceros fabulous features. So, for example, on his back one can see another horn. He has a shield from the front, and under the most the legendary lats itself. Some researchers are confident that these lats are not the fruit of the artist's imagination. Before the rhino was donated with dad, a whole presentation was conceived. The rhino was supposed to fight the elephant. It is likely that it was for this that these lats were put on the animal. The eyewitness saw him in them and sketched.

The creation of Durer became famous. It was distributed in a large number of copies. BeforeXVIII century This image was used in all textbooks on biology. Salvador Dali created a sculpture depicting this animal. The rhinoceros of Dürer is charming today. Most likely, the secret lies in surprise, which this unusual picture causes.

In 1520, Dürerge went to the Netherlands to obtain a sanction to continue the payment of rent from the new Emperor Charles V. This trip became the triumph of the artist. Everywhere he expected invariably enthusiastic reception, he met the most outstanding representatives of the creative elite of that time: artists Luyuda Leidensky, Jan, and Ioachim Patinir, a writer and philosopher Erasmus Rotterdam. Upon his return, the artist created a whole gallery of the picturesque and enhath portraits of celebrities with whom she personally met.

The image of an open door on the shield indicates the name "Durer". Eagle wings and black leather men - symbols that are often found in South Mimets Heraldry; They also used the Nuremberg family Dürer's mother, Barbara Holper. Durer was the first artist who created and used his coat of arms and a famous monogram (a large letter A and inscribed in her D), he subsequently had many imitators in this.

Durer left not only artistic, but also theoretical heritage. In 1523 - 1528. He published his treatises "Guide to the measurement of the circulation and a ruler", "four books about the proportions of man." Albrecht Durer. " Portrait of an unknown "(1524)

Among the works of the master of recent years of life, diptych is highlighted "Four Apostles" (1526). In this work, the artist managed to combine the antique ideal of beauty with gothic rigor. A solid and calm faith, which is performed by this creation, according to researchers, expresses the solidarity of Durer with Luther and the Reformation. John, placed in the foreground, was the favorite Apostle Luther, and Paul is the undisputed authority of all Protestants. Diptych "Four Apostles" Dürer wrote two years before death and visited the Nuremberg City Council.

In the Netherlands, Durer became a victim of an unknown disease (perhaps malaria), from whose attacks suffered to the end of life. Symptoms of the disease - including a strong increase in spleen - he reported in a letter to his doctor. Durer painted himself pointing to the spleen, he wrote in explanation to the drawing: " Where a yellow spot, and what I point out my finger, I hurt me there. "Albrecht Durer died on April 6, 1528 in his homeland in Nuremberg. Willibald Pirkheimer, as promised, composed an epitaph for his beloved friend: " Under this hill rests what was mortal in Albrecht Dürere. "

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
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Albrecht Dürer (it. Albrecht Dürer, May 21, 1471, Nuremberg - April 6, 1528, Nuremberg) - German painter and schedule, one of the greatest masters of the Western European Renaissance. Recognized by the largest European master of xylography, which raised it at the level of this art. The first theoretical art among North European artists, the author of the practical guidance on visual and decorative and applied arts in German, promoting the need for the versatile development of artists. The founder of comparative anthropometry. In addition to the listed, left a noticeable trace in the Military Engineering Art. The first of the European artists who wrote autobiography.

The future artist was born on May 21, 1471 in Nuremberg, in the family of Jeweler Albrecht Dürer, who arrived in this German city from Hungary in the middle of the XV century, and Barbara Holper. Doubriers had eighteen children, some, as Durer Jr. himself wrote, died "in his youth, others when they grew up." In 1524, only three - Albrecht, Hans and Endres were alive from Children of Durers.

The future artist was the third child and the second son in the family. His father, Albrecht Dürer Senior, his Hungarian surname Auntosh (Weng. Ajtósi, from the name of the village of Auntos, from the word ajtó - "Door".) Literally transferred to German as Türer; Subsequently, she was transformed under the influence of Frankish pronunciation and began to write Dürer. About his mother Albrecht Durer Jr. recalled as a pious woman who had a hard life. Perhaps weakened by frequent pregnancies, she hurt a lot. The famous German publisher Anton Coberger became the shameful father of Durera.

For some time, Durera took half at home (near the city central market) at the lawyer and diplomat Johanna Pirkheimer. Hence, a close acquaintance of two families belonging to various city classs: Parcitheimer Patrices and artisans of Durers. With the son of Johann, Willibald, one of the most enlightened people in Germany, Dürer Jr. was friends all his life. Thanks to him, the artist later entered the Circle of Humanists Nuremberg, whose leader was Pirkheimer, and became his man there.

From 1477, Albrecht visited Latin school. At first, the father attracted her son to work in a jewelry workshop. However, Albrecht wished to engage in painting. Senior Durer, despite the regret of the time spent on the training of the Son of Time, lost his requests, and at the age of 15 Albrecht was sent to the workshop of the leading Nuremberg artist of the time Michael Volhegemut. This was told by Durer in the "Family Chronicle", created by him at the end of life, one of the first autobiographies in the history of Western European art.

Wolgemut Durer mastered not only painting, but also engraving on a tree. Wolgemut, together with his stepmaking Wilhelm Pleidenvurf, performed engravings for the book Chronicles of Hartman Sedeli. In work on the most illustrated book of the XV century, which experts of the "Chronicle" experts are considered, His students helped Wolgemut. One of the engravings for this publication, the "dance of death" is attributed to Albrecht Dürer.

Study in 1490 by tradition ended with wanders (it. WanderJahre), during which the submaster adopted the skills from the masters from other locations. The student's student trip continued until 1494. Its exact route is unknown, he traveled a number of cities in Germany, Switzerland and (according to some researchers) the Netherlands, continuing to improve in visual art and processing materials. In 1492, Dürer was lingering in Alsace. He did not have time, as he wanted to see himself with his living in Colmar, Martin Schongauer, an artist, whose work was greatly influenced by the young artist, famous for the master of engraving on copper. Schongauer died on February 2, 1491. Durer with honorable accepted the brothers of the late (Kaspar, Paul, Ludwig), and Albrecht had the opportunity to work in the artist's workshop for some time. Probably, with the help of Ludwig Schongauer, he mastered the technique of engraving on copper, which at the time they were mainly engaged in jewelers. Later, Durer moved to Basel (presumably until early 1494), who was at that time one of the centers of a typography, to the fourth brother Martin Schongauer - Georg. At about this period in the books printed in Basel, there are illustrations in a new, unknown earlier, style. The author of these illustrations received the historians of the art "Master of Tygman Typography". After finding the engraved board of the title list to the publication "Letters of St. Jerome "1492, signed on the turn of Düregor, the work of the" Master of the Bergman "masters were attributed to him. In Basel, Durer, perhaps, took part in the creation of famous engravings on the tree to the "ship of fools" Sebastian Brand (the first edition of 1494, the artist is attributed to 75 engravings for this book). It is believed that in Basel Dürer worked on engravings for the publication of comedies Terentation (it remained unfinished, out of 139 boards was cut out of only 13), "Turned Knight" (45 engravings) and a prayer room (20 engravings). (However, art historian A. Sidorov believed that he was not worth it to attribute all the Basel engravings Dürer).

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