School encyclopedia. Brief biography of Albrecht Dürer Most importantly

A. Durer (1471-1528) - Great German Artist, and in last years 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 some time, 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 far from beauty from the point of view classical ideal. In addition, the master prefers everything sharply accomplished, pays much attention Individual details. Great value For Albrecht, 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, drawing was part everyday life Masters. Durer perfectly owned all the graphics techniques of that time - from coal, watercolor, Italian pencil to the reed feather and the 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 Durera, the drawing was a tool with which he studied characteristic types - 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

First significant work Masters is a series of landscapes 1494-95. 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 arts of Albrecht is the desire to find perfect proportions 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 many figures performed during the years creative maturity Albrecht Durer. Famous works Its includes created in 1506 "Cell Holiday", 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 already B. early work, completed about 1499 (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 and that self-portrait occupies a leading place in early period 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 the work 1493, 1498 and 1500. IN last work (Photo is presented above) Albrecht is shown strictly in the FAS. Framed by a small beard and long hair his right face Reminds us the images of the Christ-Pantokrator.

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 much more 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 best work Dürera.

"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. Summary The aforementioned treatise is important to know to understand 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. Note that the Humanists of the Renaissance were found in people having a melancholic temperament, "divine obsession" of genius, embodiment creative start. 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 young man", in 1524 -" Male portrait", in 1526 -" Jerome Holzshuer "and other works. These small works are distinguished by an impeccable composition, classical completeness, silhouette chasing. They are effectively complicated by the outlines of huge velvet berettes or widespread hats. Composite center of these works - person close-upcreated 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 diptyph "Four Apostles" (in the photo below), the last picturesque work Masters (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.

Albrecht Durer (1471-1528) is a German engraver and painter, one of the largest masters of xylography.

Childhood, family

One of the greatest artists Renaissance appeared on May 21, 1471 in Nuremberg. His father was a jeweler who moved to Germany from Hungary. Hungarian surname Auntosh (Weng. AJTO - "Door") Albrecht Dürer Sr. translated into German as Türer, later she was transformed into Dürer. His mother Barbaru Holper The future artist described as a pious woman who tried to punish his children often and diligently. In the family of Durers, 18 children were born, but survived only 8. Albrecht was the third child.

Study

In 1477, Albrecht began to attend Latin school. In addition, the father taught his son jewelry business. Nevertheless, Albrecht decided to engage in painting. As a teenager, he wrote his self-portrait (1484) and "Madonna with two angels" (1485). When Albrecht turned 15 years old, he began learning from the Nuremberg artist M. Volhegemut. In his workshop Durer studied painting, as well as engraving on copper and wood. According to art historians during this period, he worked on some engravings for the "book Chronicles" H. Shedel. In particular, over the gravury, known as the "Dance of Death".

According to tradition, the study was supposed to end the journey to which Durer went in 1490. Albrecht Dürer's student ride lasted about 4 years. During this time, he visited Switzerland, Germany and the Netherlands. In 1492, Dürerge was delayed in Alsace, where she worked in the workshop of Schongauer for some time. He then moved to Basel. Here he participated in the creation of engravings to the "ship of fools" S. Brand. For some time, Durer spent in Strasbourg, where he created his "self-portrait with a thistle" (1493). The last creation was a gift for the bride Dürer.

Engraver

1495 - Durer opens his own workshop in Nuremberg, where he creates most His engravings. He tried a lot of new techniques in the technique of engraving and opened the sale of the first prints

1498 - The book "Apocalypse", for which Durer made 15 xylography. The latter brought him wide fame.

1500 g. - Appeared the book "Passion of St. Brigitta. " For her Durer performed 30 engravings. During this period, he also joins the Nuremberg Humanists, whom Konrad Thttis was headed.

1501 - Durer engraves published by Thtchis "Collection of comedies and poems" Rosvita.

1504 - creates Engraving "Adam and Eve", which is considered one of the masterpieces of the cutting engraving on the metal.

1507-1512 - Performs a series of religious engravings "Small Passions", "Large Passions" and "Life of Mary".

1512 - the Emperor Maximilian I. The Emperor Maximilian I. Dürer was participating in the work on the Triumphal Arch, monumental xylography, which was made to order the emperor.

1513 - takes part in the illustration of the "prayer room of Emperor Maximilian." In 1515, the emperor appointed Albrecht Dürer lifelong pension.

1513-1514. - Creates 3 graphic sheets, which in the history of art are known as "workshops of engravings": "Saint Jerome in the cell", "Knight, Death and the Devil" and "Melancholia". The last engraving became famous thanks to the "magical square" shown in its background.

1515 - performed 3 engravings depicting the cards of the Northern and South Hemisphere of the Starry Sky and the East Hemisphere of the Earth.

1515-1518. - Begins to work in new technique - etching. Dürer etching are made on iron boards.

Durer made a lot of effort to achieve craving in engraving, considering it in a true way to material well-being and recognition. He was the first German artist who simultaneously worked in both types of engravings - on honey and on the tree. The realization of the Durer engraving was engaged in his mother and wife. His engravings could often be found at Nuremberg fairs, Augsburg and Frankfurt am Main. In addition to engravings at the beginning of the XVI century, Dürer works on exjibris. At the moment, 20 exlebris created by him is known. The first exjibris Albrecht Durer made Willibald Pirkheimer for his friend.

Painter

1494-1497 - Created a portrait of the Saxon Kurfürst Friedrich III.

1498 - wrote his self portrait.

1499 - created a portrait of a trade agent O. Cherrel and his father.

1500 G. - FRIDRICH III Polypties "Seven Sorrow" for the Kurichurst Saxony

1504 - to order said Saxon Kurfürst, wrote a picture of "Waughs".

1505 - staying in Venice, commissioned by German merchants, he fulfilled the picture of the festival of wreaths from roses. Durer believed that it was this work that made many of many recognize him not only with an engraving, but a painter.

1506 - Durer returns to his native Nuremberg.

1509 - elected a member of the Big Council of Nuremberg.

1511 - to order a merchant Mattias Landauer writes an altar "Worship of the Holy Trinity".

1518 - Durer represents Nuremberg on Reichstag in Augsburg. Here he writes portraits Yakova Fugger, Maximilian I and others famous participants Congress.

1526 - Durer creates the "Four Apostles" diptych.

Personal life

In 1494, Durer married the will of his father. Agnes Frey took place from the old Nuremberg family. Until the wedding day, the young people did not see. Although Durer sent his bride his self portrait. By marriage, the artist referred without much enthusiasm, although the will of the Father did not oppose. After all, only a married artist was considered the master according to the rules. Immediately after the wedding, Durer went to Italy to improve his skills. Spouses had no children. According to Durer, the real artist must protect himself from women: "Do not live with them together, not see them and not even touch."

Albrecht Dürer died on April 6, 1528 from the liver disease. He was buried at the Nuremberg Cemetery "Johansfridhof" near the grave of his friend V. Pickhaimer.

Albrecht Dürer (it. Albrecht Dürer, May 21, 1471, Nuremberg - April 6, 1528, Nuremberg) - german painter And the 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 theorist of art among Northeurway artists, the author of the practical guidance on visual and decorative and applied arts on german languagepromoting the need for the versatile development of artists. The founder of comparative anthropometry. The first of the European artists who wrote autobiography.

Biography of Albrecht Dürera

Future artist 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.

Creativity Altdorofer

Painting

Since childhood, he dreamed of painting, Albrecht insisted that his father gave him to the artist's teaching. After the first trip to Italy, he still did not completely perceived the achievements of Italian masters, but in his works there is already a felt artist who thinks non-standard, is always ready for the search. The title of the Master (and with him and the right to open his own workshop) Durer received, probably by making paintings on the "Greek manner" in the house of the Nuremberg city of Zebald Schraira. On the young artist He drew the attention of Friedrich Wise, who ordered him, among other things, write his portrait. Following the Kurfürst Saxon, the Nuremberg Patricia wished her images - at the turn of the centuries, Durer worked a lot in portrait genre. Here Durer continued the tradition that prevailed in painting Northern Europe: The model is represented in three-hardest reversal on the background of the landscape, all the details are very carefully and realistic.

After entering the light of the Apocalypse, Durer became famous in Europe as a master engraving, and only during the second stay in Italy received recognition as a painter abroad. In 1505, Jacob Vimmfeling in his " German history"He wrote that the paintings of Durer are valued in Italy" ... as high as Pararaia and Appelles paintings. " The works performed after the trip to Venice demonstrate Durer's successes in solving the tasks of the human body image, including naked, complex angles, characters in motion. It disappears by its early works Gothic angularity. The artist made a bet on the performance of ambitious picturesque projects, taking orders for multifigure altar images. The works of 1507-1511 are distinguished by the equilibiousness of the composition, strict symmetry, "some inconsistency", dry image manners. Unlike its Venetian works, Dürer did not seek to convey the effects of the light-air environment, worked with local colors, possibly inferior to the conservative tastes of customers. Accepted by Emperor Maximilian to the service, he received some material independence and, leaving painting on time, turned to scientific research and engravings.

Self-portrait

With the name of Durera, the formation of the North European autoportist as an independent genre is connected. One of the best portraits of his time, he highly put the painting for the fact that she made it possible to preserve the image of a particular person for future generations. Biographers note that, possessing an attractive appearance, Dürer especially loved to depict himself in his youth and reproduced his appearance not without a "vain desire to like the viewer." The picturesque self-portrait for Dürer is a tool to emphasize its status and milestone, noting a certain stage of his life. Here he appears by a person standing in intellectual and spiritual development Above the level that was defined by its class position, which was uncharacteristic for self-portraits of the artists of that era. In addition, he once again argued the high importance of the visual art (unfair, as he considered, excluded from among the "seven free arts") At a time when in Germany, it was also numbered to the craft.

Pictures

About a thousand preserved (Julia Bartrum speaks about 970) Dürera drawings: landscapes, portraits, sketches of people, animals and plants. Evidence of how carefully the artist treated the picture, is the fact that even his student work has been preserved. Dierer's graphic legacy, one of the largest in the history of European art, in terms of volume and meaning is in one row with a graphics of da Vinci and Rembrandt. Free from the arbitrariness of the Customer and his desire to the Absolute who made the stake of coldness in his picturesque worksThe artist most fully revealed as the Creator in the picture.

Durer tirelessly practiced in layout, generalization of private spaces. Its animalistic and botanical drawings are distinguished by the high mastery of execution, observation, loyalty to the transfer of natural forms, characteristic of a scientist-naturalist. Most of them are carefully worked out and represents complete works, nevertheless, according to the customs of the artists of the time, they served as auxiliary material: all his studes durer used in engravings and paintings, repeating the motives repeatedly graphic work in large works. At the same time, Mr. Völdlin noted that Durer was almost nothing tolerated from the truly innovative finds made by him in landscape watercolor, in their picturesque work.

District graphics are made in various materials, he often used them in combination. He became one of the first german artistswho worked as a brush with colored paper, popularizing this Italian tradition.

Bibliography

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• Brion M. Dürer. - M.: Young Guard, 2006. - (Life of wonderful people).
• DZUFFI S. Large Atlas Painting. Fine art 1000 years / Scientific editor S. I. Kozlova. - M.: Olma-Press, 2002. - P. 106-107. - ISBN 5-224-03922-3.
• Alube A. Yeretik Albrecht Durer and three "godless artists" // Art: Magazine. - 1937. - № 1.
• Zarnitsky S. Dürer. - M.: Young Guard, 1984. - (Life of wonderful people).
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• Lviv S. Albrecht Durer. - M.: Art, 1984. - (Life in art).
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), who arrived in this German city from Hungary in the middle of the XV century, and Barbara Holper. Doubriers had eighteen children from which eight survived. The future artist was the Third Baby and the Second Son. His father, Albrecht Durer Senior, Golden Affairs Master, his Hungarian surname Auntoshi (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. Albrecht Durer Jr. remembered about his mother as a pious woman who punished his children "hard" and often. Perhaps weakened by frequent pregnancies, she hurt a lot. Antennaya German Publisher Anton Coberger became the gratuitous father of Dürer: 6.

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. In these years, he created a self-portrait (1484, Albertina, Vienna) and "Madonna with two angels" (1485, Gravy Cabinet, Berlin). 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 himself in the "Family Chronicle" created by him at the end of life: 5.

Wolgemut Durer mastered not only painting, but also engraving on wood and copper. 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 Durera: 97-98.

First journey. Marriage

A. Durer. Agnes Dürer. Figure pen. 1494.

Trip to Italy

It is believed that in 1494 or a little earlier, Dürer journey to Italy. In the "Family Chronicle" Durer does not write anything about this trip, some researchers suggest that the artist performed it in 1493 / 1494-1495 (there is also an opinion that it did not take place), where, perhaps, meets the work of Manteny, Polaya, Lorenzo di Credit, Giovanni Bellini and other masters.

Some researchers see the confirmation that Durer traveled to Italy in 1493 / 1494-1495, in his letter from Venice Pirkheimer dated February 7, 1506, where the artist speaks of those works of the Italians who liked him "eleven years ago", but Now "do not like it anymore." Supporters of the first trip in Italy also pay attention to the memories of the Nuremberg lawyer Christopher Sheyrly, who in his "book in Germany's praise" (1508) calls Durera's visit to Italy in 1506 "Second". All undated landscape sketches of Durera, who became the first in the art Western Europe Watercolors in this genre include supporters of the version in the Italian journey 1493 / 1494-1495. Later, Durer uses these motifs, as well as the Etudes of Nuremberg's environs in their engravings: 27.

Start independent work

IN last decade The XV century, the artist created several picturesque portraits: his father, a trading agent Oswald Cherley (1499, Old Pinakotek, Munich), Saxon Kurfürst Friedrich III (1494/97) and self-portrait (1498, Prado, Madrid). One of the best and significant works of Dürer between 1494/5 and 1505 (estimated first and second travel artists in Italy) is considered to be "worship of the Magi", written by Durer for Friedrich III. Several earlier Durer, probably, with the assistants, performed for the Saxony Saxony Saxony (about 1500) for the Kurfürst.

Venice

Nuremberg 1506-1520

Altar Landauer. 1511. Museum of Art History. Vein

In 1509, Durer was elected called a member of the Big Council of Nuremberg, it was possible that he participated in this capacity art projects cities. In the same year, he bought a house in Cissergass (now Dürer's House-Museum): 8.

In 1511, Durer commissioned by the Nuremberg merchant Mattias Landauer wrote an altar "Worship of the Holy Trinity" (Altar Landauer, Museum of Art History, Vienna): 106-107. The iconographic program of the altar, consisting of a painting and a wooden carved frame made by an unknown Nuremberg master, at the top of which the scene of a terrible court was cut out, developed Durer. In its foundation, the treatise of Augustine "On Grad God" was laid. In 1585, when Rudolf II acquired a picture of Durera, the frame remained in Nuremberg: 106. Despite his success and defeating glory (Jacob Vimmfeling in his "German history" wrote that the paintings of Durer are appreciated in Italy "... as high as Pararaia and Appelles paintings"), the artist nevertheless aware that it is not able to change the attitude His customers who believed along the tradition in Germany in Germany, the painter is just an artisan. So, judging by letters to Jacob Geller, for whom Durer performed the altar image "Ascension of Mary", this Frankfurt merchant was dissatisfied with an increase in the timing of work, and the artist had to explain that the work high QualityUnlike ordinary paintings, requires more time. Geller eventually remained satisfied with the work performed, but the remuneration received for her Durer, barely covered the value of the expended materials.

Durer focused his efforts to achieve the highest mastery in engraving, seeing the right way to recognize and material well-being: 7. Even before the trip to Venice, Dürer's main income was the funds reversed from the sale of engravings. The realization was engaged in the mother of the artist at the fairs in Nuremberg, Augsburg and Frankfurt am Main. In other cities and countries, Dürera engravings went along with the goods of the merchants of the immigs and tuckers.

From 1507 to 1512, Durer performs many engravings to order, as well as a series of religious engravings ("Life Mary", "Large Passion", "Small Passions", "Passion" on copper), intended for sale. In 1515-1518, Durer tries to work in a new technique at the time - etching. Since at that time, acids were not yet known for the etching of copper, Durer performed the etchings on the iron boards. Somewhat earlier, in 1512, Durer used this kind of engraving as a "dry needle", but soon left it.

In the summer of 1518, Durer represented the city of Nuremberg on Reichstag in Augsburg, where he wrote portraits Maximilian I, Yakova Fugger and others famous participants Congress.

Work for Maximilian I

A. Durer. Portrait of Maximilian I.

From 1512, the Emperor Maximilian I became the main patron saint of the artist. By way famous master Engravings, Durer, together with his students his workshop, took part in the work on the order of the emperor: "Triumphal Arch", monumental xylography (3.5 x 3 m), composed of penetrations from 192 boards: 8. The grandiose composition, conceived and implemented in honor of Maximilian, was intended to decorate the wall. The ancient Roman triumphal arches served as a sample for her. Pirkheimer and Johann Staby (Idea and Symbolism), the court artist Jörg Köldermer, Heronim Andrea: 76 took part in the development of this project. In addition to " Triumphal Arc."Marx Trait Titzourweight was developed a project" Triumphal Procession "engravings, xylography was performed by Durer together with Albrecht Altdorfer and Hans Sprindy. In 1513, the artist, together with other leading German masters, took part in the illustration (Pen's drawings) of one of the five copies of the "prayerman of the emperor Maximiliana". Financial difficulties that constantly experienced by the emperor did not allow him to pay to Durer in time. Maximilian suggested the artist liberation from urban taxes, but the Council of Nuremberg acted against this. Also, Durer received from Maximilian to a diploma (Freibrief), who protected from copying its engravings on a tree and copper. In 1515, at the request of Dürer, the emperor appointed him a lifetime retirement in the amount of 100 guilders per year, from the amounts of the city of Nuremberg to the imperial treasury.

Durer and Reformation

In 1517, Durer joined the mug of Nuremberg reformers, at the head of which the vicar of Augustines, Johann Stamp, and his companion, Werezeslav Link. Acquaintance with the writings Martin Luther, who, according to the artist, "helped him very much" ( der Mir Aus Großen Engten Geholfen Hat) probably happened about 1518 years. The artist supported relations with prominent figures of the Reformation: Zwingli (whose teachings are inserted at some time), Carlstadt, Melanchton, Cornelius Gravel (Cornelius Graphaus), Nicholas Sibervis. Already after the death of Dürer Pirkheimer, remembering his friend, responded to him as "good Lutheran". In early 1518, Durer sent his engravings with Luther, the artist hoped to engrave the portrait of Luther himself, but their personal meeting did not take place. In 1521, when a false rumor was spread that Luther was captured after the Wormian Reichstag, Dürer recorded in his "Diary of traveling to the Netherlands": "Oh God, if Luther Decks, who will be so clearly expressing the Holy Gospel so clearly?" Dürer adhered to the views of the "iconoborets" who opposed the deification of the "miraculous" images, however, as evidenced from the "dedication to Pirkheimer" in the treatise "Guide to the measurement ...", did not insist that the works of art were removed from churches.

In the late works of Durera, some researchers find sympathy to Protestantism. For example, in engraving " Mystery evening"(1523) The inclusion in the composition of the Eucharistic bowl is considered an expression of the idea of \u200b\u200bthe Calikstinsev, although this interpretation was questioned. The delay in the release of Engraving "Holy Philip", completed in 1523, but imprinted only in 1526, perhaps due to doubt experienced by Durer with respect to the images of saints; Even if Dürer was not an icon-border, the role of art in religion in the last years of his life he was reassessing.

Trip to Netherlands

A. Durer. Portrait of Erasmus. Paper, black chalk. OK. 1520.

On October 4, 1520, Karl V confirmed Dürer's right to retire 100 Guldenov per year. Entries in the "Diary" end in this. The return path, judging by sketches in the way album, the artist did on Rhine and Main. The artist returned to Nuremberg in July 1521.

Last years

Dürer's grave at John's cemetery in Nuremberg

At the end of his life, Durer worked a lot like a painter, during this period they created the most deep worksin which acquaintance with the Netherlands art is manifested. One of the most important paintings of the last years - Diptych "Four Apostles", which artist presents the city council in 1526. Among the researchers of Durer's creativity, there are disagreements in the interpretation of this diptych - some, following the Calligrapher Johann Neidurfer ( ) On the instructions of the inscription artist in the picture (quotations from the Bible in Luther's translation), see in the "four apostles" only images of four temperaments, others - the response of the master on religious disagreements, shook in Germany and the reflection of the idea of \u200b\u200b"mismatch of humanistic utopia and reality": 105.

In the Netherlands, Durer became a victim of an unknown disease (possibly malaria), from whose attacks suffered until the end of life: 92. 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, it hurts me."

Until recent days, Durer prepared his theoretical treatise on proportions to the press. Albrecht Durer died on April 6, 1528 in his homeland in Nuremberg: 11.

Magic Square Dürera

Fragment of Engraving Dierer "Melancholy"

"Magic Square" Dürer remains complex mystery. If we consider the average squares of the first vertical, it is striking that changes are made in them - the numbers are fixed: 6 is fixed by 5, and 9 obtained from 5. Undoubtedly, Dürer did not accidentally enriched his "magic square" such details that cannot be noticed.

Star and Geographic Maps Durera

Pictures

"Guide to the measurement of a circulation and ruler"

Part of other sections short Plan (Problems of the image of architecture, prospects and lighting) entered the treatise "Guide to the measurement of the circulation and a ruler" ( VNDERWEYSUNG DER MESSUNG MIT DEM ZIRCKEL VND RICHTSCHEYT, published in 1525, the second edition with the amendments and additions to Durer came out in 1538): 11.

"Guide to strengthen cities, castles and tesns"

In the last years of life, Albrecht Durer pays a lot of attention to the improvement of defensive fortifications, which was caused by the development of firearms, as a result of which many medieval facilities Steel ineffective. In his work "Guide to strengthen cities, castles and tesns," released in 1527, Durer describes, in particular, in principle new Type The fortifications he called Baste. The creation of a new theory of fortification, according to Dürer himself, was due to his concern for the protection of the population "from violence and unfair oppression." According to Durera, the construction of fortifications will give the work of the disadvantaged and save them from hunger and poverty. At the same time, he noted that the main thing in defense is the resistance of defenders.

Memory

Comments

Notes

1. Russian humanitarian encyclopedic dictionary. Cylography
2. Albrecht Dürer // One Hundred Most Influential Painters and Sculptors of the Renaissance. - Britannica Educational Publishing. - The Rosen Publishing Group, 2009. - 376 p. - ISBN 9781615300433.
3. Golovin V. Durer I. german revival // M. Brion. Durer. - M.: Young Guard, 2006. - P. 9. - (Life of wonderful people).
4. Bartrum D. Durer / Per. from English .. - m .: Niola-press, 2010. - 96 p. - (from the collection of the British Museum). - 3000 copies. - ISBN 978-5-366-00421-3.
5. Durer A. Literary heritage Durera // Treats. Diaries. Letters / Translation Nesselshtraus C. - M.: Art, 1957. - T. 1.
6. Nemirovsky E. World of book. From ancient times until the beginning of the 20th century / Reviewers A. A. Govorov, E. A. Diernstein, V. G. Utkov. - Moscow: Book, 1986. - 50,000 copies.
7. Giulia Bartrum, Albrecht Dürer and His Legacy, British Museum Press, 2002, ISBN 0-7141-2633-0
8. Rebel E. Albrecht Dürer, Maler Und Humanist. - C. BERTELSMANN, 1996. - P. 457.
9. Benoita A. History of painting of all times and peoples. - St. Petersburg. : Publishing House "Neva", 2002. - T. 1. - P. 307. - 544 p. - ISBN 5-7654-1889-9
10. , from. thirty
11. Dürers Familienwappen (Him.). Museum Kloster Asbach. Archived from the original source May 30, 2012. Checked March 19, 2012.
12. Wölfflin H. Die Kunst Albrecht Dürers. - München: F Bruckmann, 1905. - P. 154-55.
13. Costantino Porcu (ED), Dürer, Rizzoli, Milan 2004. p. 112.
14. DZUFFI S. Large satin painting. Fine art 1000 years / Scientific editor S. I. Kozlova. - Moscow: Olma-Press, 2002. - ISBN 5-224-03922-3
15. Koroleva A. Durer. - m .: Olma Press, 2007. - P. 82. - 128 p. - (Gallery geniuses). - ISBN 5-373-00880-X
16. Vipper B. Articles about art / will enter. Article G. N. Livanova. - m.: Art, 1970. - P. 107. - 591 p.
17. RUPPRICH H. DURER: Schrifilicher Nachlass, 3 Vols. - Berlin: Deutscher Verein Fur Kunstvvissenschaft, 1956-69. - T. 1. - p. 221.
18. Letter Pirkheimer Architect Johann Draw
19. Strauss, Walter L. (ED.). The Complete Engravings, Etchings and Drypoints of Albrecht Durer. DOVER PUBLICATIONS, 1973.

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 with his living in Colmar, Martin Schongauer, the artist, whose work was greatly influenced by young artist, Illossed Master of Copper Engravings. 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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